The Last Son of Krypton: Season One
by Duragizer
Summary: The first season of a three-season series chronicling Clark Kent's life from his arrival on Earth in 1914 to his debut as Superman in 1938. It follows his upbringing in Smallville, his discovery of his Kryptonian heritage, and his first encounter with Lex Luthor.
1. Episode 1-1: The Last Son

FADE IN

On Krypton.

An extrasolar world in close orbit around a red dwarf star, Krypton is a black-&-blue terrestrial planet, roughly the same size as Earth.

EXT. KRYPTON — DAY — TRAVELLING

Far above the surface, we find a PRISM-BIRD in flight. True to its name, the plumage of the extraterrestrial avian shimmers with iridescence as dim sunlight plays over the feathers. We stay with the prism-bird as it travels over the Kryptonian landscape. On the ground below rises a forest. The flora much resembles the kind found on Earth — trees, bushes — though here, it is black rather than green. Canals cut through the forest, irrigating the pitch vegetation.

The forest soon gives way to grassland, and the grassland gives way as we clear the wilderness and emerge over Xan, a sprawling metropolis of chrome and crystal. Xan's towering citadels reach to touch the alice blue sky overhead.

Closing in on one of the citadels, the prism-bird passes through an open picture window, where it alights on the waiting arm of its owner.

INT. CITADEL/SOLARIUM — DAY

The prism-bird roosting on her arm, LUMA-LYN brings it close. Putting a finger to its neck, she begins stroking it, admiring the colours which scintillate with each stroke. On the cusp of adulthood, the Kryptonian girl is a sight to behold. She is strikingly beautiful, with light blond hair worn up in a French twist, vibrant azure eyes, a straight nose, high cheekbones, and full pink lips. Tall, with a body toned with lithe muscle, she radiates elegance while carrying an aura of assertive strength about her. She is clad in a skintight bodysuit; red in the centre, black on the sides, an embroidered gold stripe denoting familial affiliation runs down the left side to the knee. From her neck hangs a chrome pendant on a chain; diamond-shaped, the pendant contains an S-shaped sigil.

As Luma attends to her pet, a semi-humanoid automaton of blue metal, KELOR, enters the room from behind. It's head oblong, its body wasp-like and legless, Kelor stands suspended on a field of antigravity. In a Kryptonian tongue, it addresses her. A violent tremor then reverberates through the building, shaking its very foundations. A grave expression passes over Luma's face. After several seconds, the tremor passes. Luma responds to Kelor's statement. Satisfied with the response, the robot leaves the chamber.

Turning her attention back to the prism-bird, Luma looks into its gold eyes and it looks into hers. Giving her pet a final smile, she throws her arm up, coaxing the prism-bird back through the window, out into the open air.

CUT TO

The prism-bird as it returns to the pale sky, beating its wings until it catches an updraft.

The avian facing the red sun, the light shines through its feathers. A beautiful halo momentarily forms around the creature.

CUT TO

A close-up of Luma's despondent face.

INT. TRANSPORT SHUTTLE — DAY

Luma sits on a cushioned bench inside the automated shuttle, Kelor floating before her. Through the forward viewport can be seen the length of the maglev tunnel outside.

EXT. XAN — DAY

The tremors return. Though they tremble, the citadels remain erect.

INT. LAUNCH COMPLEX/CONTROL CENTRE — DAY

Inside the horseshoe-shaped control centre we find SIX KRYPTONIANS and TEN AUTOMATONS at computer stations. These Kryptonians, four men and two women, are attired in black bodysuits which hide every millimetre of their skin save for their fingers and faces; over their bodysuits they all wear green scapulars bearing silver stripes. A wraparound pane of transparent crystal is all that separates the control centre from the adjacent launch pad. Down in the launch pad, aligned vertically, is a chrome starcraft. Sporting six stabilizer fins in a vaguely hexagramal configuration around its base, it is large enough to accommodate one adult rider.

INT. LAUNCH COMPLEX/LAUNCH PAD — DAY

Luma stands on the launch pad. Having changed into a featureless black bodysuit like the ones worn by those in the control centre, she allows five bronze automatons to assist her into a chrome spacesuit.

EXT. XAN — DAY

The tremors intensify. The crystal-&-chrome facades of the citadels fracture and shatter.

INT. LAUNCH COMPLEX/LAUNCH PAD — DAY

The girl encased in her chrome suit, the automatons move away. Kelor then approaches, a green crystal in its hands. Taking the crystal, Luma secrets it in one of her suit compartments. Sealing her helmet in place, she then crosses the reverberating chamber to the awaiting starcraft.

INT. STARCRAFT/COCKPIT — DAY

Climbing through the open canopy into her seat, Luma brings the vessel's systems online. With the push of a button, the canopy closes over her.

INT. LAUNCH COMPLEX/CONTROL CENTRE — DAY

The interior lighting begins flickering erratically. One of the Kryptonians manipulates a dial on their control panel.

EXT. XAN — DAY

From all across the city, multiple hundreds of starcraft launch from several locations. These craft, all far smaller than Luma's, consist of large ovoid crystal pods affixed to hexagramal bases of solid chrome. They ascend into the heavens as the earth below splits open, sending buildings toppling.

INT. LAUNCH COMPLEX/LAUNCH PAD — DAY

The ceiling overhead irises open. With a tremendous burst of speed, Luma's starcraft rockets up, passing through the portal into a shaft leading outside.

EXT. XAN — DAY

A great geyser of green energy blasts through the earth, annihilating several hundred buildings instantaneously. A great shockwave follows the blast; it plows through the surrounding buildings, pulverizing them.

INT. LAUNCH COMPLEX/CONTROL CENTRE — DAY

The chamber caves in. No one has the chance to even cry out before they're buried under kilometres of rubble.

EXT. KRYPTON — MONTAGE

Passing across the face of the planet, we see Xan isn't the only area succumbing to cataclysm. Great jets of radiation erupt everywhere, in every continent, in every ocean, irradiating everything.

EXT. KRYPTON — DAY

As 144,000 starcraft make the climb to space, Krypton literally begins breaking apart below. Eruptions spring up all over the world, throwing radioactive debris into the dying sky. Though protected by particle shielding, a majority of the ships are too close to the cataclysm; they are critically damaged or destroyed outright by the glowing fragments.

INT. STARCRAFT/COCKPIT

Luma's hull is pierced by impacting detritus. Green radiation momentarily floods the cockpit, passing through the girl. Spasming once, she falls limp, deathly still in her seat.

EXT. SPACE — KRYPTON

As the surviving starcraft leave the planet's gravity field, Krypton explodes. In an instant, the surface is boiled down and the atmosphere ignites. What was once an inhabited world is now a molten sphere of radioactive death.

Safe in the tranquil blackness of space, the thirty-four remaining starcraft set upon their voyage. Hyper-light drives engaging, thirty-three of the starcraft jump to hyperspace; they will reach their destination inside twenty-four years. As for Luma's damaged starcraft, its hyper-light drive has been rendered inoperable; it will have to make the long trek through normal space at luminal speed alone.

FADE OUT

BEGIN OPENING CREDITS

END OPENING CREDITS

FADE IN

On the grounds of a farm on a cold, overcast winter day.

Complete with a quaint, medium-sized house, a large barn, a silo, fields, and wide open pastures, the farm is nothing short of impressive.

SUPERIMPOSE: SMALLVILLE, KANSAS — FEBRUARY 1914

CUT TO

The front door of the house as it swings open, allowing a man out into the cold, brisk air.

In his mid thirties, JONATHAN KENT is a tall, ruggedly handsome man with dirty blond hair. Though clad in a heavy winter coat, a pair of thick black wool gloves, and a winter cap, Jonathan still feels the sharp winter chill stab into his bones. Wasting as little time as possible, he closes the door, then with hand crank in hand, leaves the porch for his blue pickup truck, a year-old Ford Model T.

As he gets to the vehicle and inserts the crank to prime the engine, the front door opens yet again, allowing his wife MARTHA out onto the porch. A lovely woman with long auburn hair, crystal blue eyes, and fair skin, she isn't much younger than her husband. Clad in a warm beige sweater, she still hugs her arms close to her as the winter breeze sweeps over her.

JONATHAN

(surprised) Martha! (beat) I thought you were asleep, honey.

MARTHA

I woke up. Now you mind telling me where on Earth you're going in this ungodly weather?

JONATHAN

Into town to get some supplies. I'll be back in two shakes of a lamb's tail.

Nodding silently, Martha then looks to the sky. The gray clouds, thick and dark, are heavy with the promise of snow.

MARTHA

I think a storm's about to hit. We really should bring the cattle in before nightfall.

JONATHAN

We'll do it after I get back.

MARTHA

I think I'll come along with you. Let me get my coat.

JONATHAN

(frowns) What are you saying?

MARTHA

I'm coming along, silly. (frowns) Is there a reason you don't want me to?

JONATHAN

No ... no reason.

MARTHA

(cocks eyebrow) I'll be just a second.

As Martha slips back inside, Jonathan remains standing by the side of his truck. Staring at his feet, he lazily kicks at the snow on the ground.

JONATHAN

Dammit….

EXT. SMALLVILLE — STREET — DAY

Entering the urban centre of Smallville, the Kents' truck cuts through the snow and slush on the roads.

INT. TRUCK/CAB — DAY

Sitting in the cold cab on the passenger's side, Martha vigorously rubs her mittened hands together for warmth. Turning to her husband, she regards him with a suspicious gaze. Noticing her stare, Jonathan tries ignoring it, keeping his eyes focused on the road ahead.

EXT. SMALLVILLE — TOWN SQUARE — HEL'S BOUQUET — DAY

Nearing his destination, Jonathan slows down. Coming to a stop, he parks the truck and shuts the engine off.

INT. TRUCK/CAB — DAY

Martha looks out her window. Standing there, identified by the large sign set above the front door, is Hel's Bouquet, a flower shop.

MARTHA

This isn't the general store. (faces Jonathan)

JONATHAN

(averts gaze) There's ... Hel telephoned earlier, placed an order. I figured I'd stop here before going to Phineas'.

MARTHA

(perplexed) Placed an order...? (beat) Jonathan —

Not waiting for her to complete her thought, Jonathan opens his door and climbs out, shutting it quickly to keep what little heat he can inside.

INT. HEL'S BOUQUET — DAY

Jonathan enters the flower shop, taking care to knock the snow off his boots before walking to the front counter. There, reading a fashion magazine, is HELEN POTTER. An attractive brunette, she's of the same basic age as Jonathan and Martha.

JONATHAN

Afternoon, Hel.

HELEN

(looks up from magazine; smiles) Jonathan! What a surprise! (beat) What brings the reclusive Mr. Kent into town in this weather?

JONATHAN

Tulips. Red ones, if you have them. (beat) Martha's always had her heart set on tulips.

HELEN

(drops smile) Yes, well, they're a very uncomplicated flower.

An uncomfortable silence develops between them. Saying no more, Helen goes to get Jonathan his tulips.

INT. TRUCK/CAB — DAY

Reading a magazine, Martha doesn't notice Jonathan return. Opening his door, he slips inside and then, with perhaps too much haste, presents her a bouquet of beautiful red tulips.

JONATHAN

Happy anniversary, sweetheart.

MARTHA

(eyes widen) Jonathan! (takes flowers) This is why you wanted to go into town alone.

JONATHAN

(smiles thinly) I was also going to pick up a bottle of wine. (beat) It was going to be a surprise.

MARTHA

Oh, darling, I'm sorry. (kisses Jonathan) Thank you.

EXT. SPACE — MARS

After decades traversing the void between worlds, thirteen Kryptonian starcraft have finally arrived in the solar system. Having spent the last few hours passing through the outer planets, they are now making their way past the red planet and its twin moons.

EXT. KENT FARM — PASTURE — DAY

Having returned from town and traded the truck in for a pair of horses, the Kents now ride through the pasture, rounding up their cattle and herding them back towards the barn. The sky is now a deep, dark gray and snowfall has begun.

EXT. SPACE — EARTH

The starcraft enter the atmosphere. Buffeted by air and friction, they are pushed apart, entering trajectories which direct them to different areas of the globe.

EXT. KENT FARM — PASTURE — DAY

Just as the Kents finish directing the remaining wayward cows and steers into joining the rest of the herd, a large fireball comes streaking down from the sky above. Their jaws dropping, Jonathan and Martha watch as the spaceborne object passes overhead like a fallen angel, crashing with a resounding boom at the far end of an adjacent field.

MARTHA

(shocked) What in —‽

Overcoming her initial shock, Martha digs her heels in her horse's sides; with a burst of speed, she begins galloping towards the crash site.

JONATHAN

(alarmed) Martha, what are you doing‽ Martha!

Kicking his own horse into gear, Jonathan takes off after his wife.

EXT. KENT FARM — FIELD — DAY

Minutes later, the Kents arrive at the site. There before them, smoking and stinking of scorched earth, is a large crater. Climbing off their horses, they approach it and the object nestled inside.

JONATHAN

Oh my God….

MARTHA

Jonathan, what is it?

Standing inside the crater, its surface unmarked and unscathed by either the entry or crash, is one of the starcraft.

JONATHAN

It looks like a ... an artillery shell.

MARTHA

(incredulous) Artillery shell?

Stepping into the crater, Martha makes her way to the strange craft.

JONATHAN

Martha! Stay clear!

MARTHA

(peers into pod) But look, Jonathan! There's something inside! Something alive!

Climbing down into the crater, Jonathan joins his wife by the vessel. Looking into the murky crystal pod, he, too, can just barely make out something alive and moving within.

JONATHAN

(touches pod) That's funny — it's cool. With how it came in all afire, you'd think —

Before Jonathan can finish his thought, the crystal under his touch liquefies, drawing away from him. Alarmed, he jumps back. A perfectly round hole opened in the pod's side, one can now see clearly the nature of the creature inside. Curled up in a ball is a naked infant boy.

MARTHA

(surprised) Oh, Jonathan — it's a baby!

Reaching into the pod, Martha takes hold of the child and lifts him out. Almost immediately, he starts crying. Holding the baby to her, Martha begins rubbing his back. In moments, the child's wailing begins to subside. Very soon he is calm and peaceful, asleep with his face nestled in her bosom.

JONATHAN

I — I'll ride back and bring the truck around.

INT. TRUCK/CAB — DAY

Martha and Jonathan are now seated inside the truck, riding back to the homestead. With the baby asleep inside her arms, she smiles.

EXT. KENT FARM — KENT HOME — DAY

Pulling up beside the house, Jonathan and Martha climb out. The snow falling heavy now, the wind blowing fierce, it's all but apparent that a fierce blizzard's hit Smallville.

JONATHAN

Get inside the house, Martha. I'm going to make sure the animals are okay, then I'll join you inside.

Bracing her and the child against the biting wind, Martha runs to the house while Jonathan shields his face and sprints over to the barn.

INT. KENT HOME/LIVING ROOM — DAY

Tossing a log into the blazing fireplace, Jonathan rubs his hands together for warmth before crossing over to his armchair. Sitting down, he looks across at Martha — who sits on the couch, the foundling child held close to her breast — a thousand thoughts all coursing through his mind.

EXT. KENT FARM — KENT HOME — DAY

Night has passed and a new day has begun. With the blizzard over, Jonathan gets in his truck and begins moving up the long driveway which will get him onto the road into town. He only gets a fourth of the way up the driveway, however, before his wheels sink into the heavy sheet of fresh-fallen snow, refusing to go any further.

INT. TRUCK/CAB — DAY

JONATHAN

(frustrated) Sonuva— (shifts gears) Let's try that again.

The engine roars and the tires spin, but the vehicle refuses to proceed any further through the fresh, glittering snow.

JONATHAN

(sighs) Wonderful.

INT. KENT HOME/LIVING ROOM — DAY

Martha is sitting cross-legged on the floor, playing with the baby, when Jonathan walks in.

JONATHAN

The truck got stuck in the snow and I can't get it out. We won't be going into town for a while.

MARTHA

So we're in for the long haul.

JONATHAN

We're well stocked up. We'll keep 'til spring.

As Martha looks upon the baby boy crawling about the carpeted floor, he looks up at her and gives her a big, toothless smile.

MARTHA

From your lips to God's ears, Jonathan.

KENT FARM — MONTAGE

As February gives way to March with nary a thaw, Jonathan works to keep the animals fed and the firewood stocked while Martha attends to the needs of the boy. Day after day, week after week, both Martha and Jonathan find themselves growing evermore attached to the child.

EXT. KENT FARM — ROAD — DAY

It is now late March and the sky is a clear, sunny blue. Jonathan makes his way to the truck.

JONATHAN

(rests hand on truck) Well, girl, let's see how the elements' been to you.

Turning the crank, he then slips inside and turns the key, automatically bringing the engine to life. Shifting gears, he backs up.

INT. KENT HOME/DINING ROOM — DAY

Martha is at the table, feeding the giggling baby boy, as Jonathan strides in. Putting the spoon in her hand down, Martha turns to her husband.

JONATHAN

The snow's receded, Martha. I'll be able to ... to take the child into town. Sheriff Miller'll know what to do for him there.

Returning to the child, Martha takes a napkin and cleans his mouth.

MARTHA

You're right. After all, we can't keep him. It'd be irrational. Hell, it'd be insane. A baby boy fell from the sky; we just can't keep him. (beat) Even if it was monstrous for someone to put a child in a bombshell….

JONATHAN

Martha….

MARTHA

(cont'd) Even if the Birches are on their fourth and I ... (crying) and I can't keep a child.

Overwhelmed by her emotions, Martha walks out of the room.

JONATHAN

Martha!

INT. KENT HOME/LIVING ROOM — DAY

Collapsing onto the couch, Martha stares into space as tears stream down her face. Joining her, Jonathan places an arm around her shoulder.

JONATHAN

Good Lord, Martha, do you realize what you're asking that we do? We don't even know if he ... if he's from here. We don't know —

MARTHA

(faces him) No, we don't. We don't know where he came from or if anyone will come for him, but if there's anyone who might stand a chance to do right by that child, come what may, it's you and me. Don't ... don't you just know it? (beat) Don't we deserve a chance to try?

Rising, Martha leaves Jonathan and walks over to a liquor cabinet. Opening it up, she takes a tall bottle of whiskey and a pair of glasses. Taking a seat in the armchair, she places the glasses and bottle down on a small table beside it.

JONATHAN

What's the whiskey for?

MARTHA

(fills a glass) If we decide to keep the child, I'm going to pour you a glass and we're going to celebrate. If we don't ... whiskey's more convenient and less painful than a log to the head. (beat) While you take him into town, I'll be doing everything in my power to forget the last several weeks ever happened.

As Martha takes a sip of her whiskey, Jonathan sits there, looking on her with brow furrowed in thought. Moments pass, then he gets up. Crossing over to her, he takes up the bottle of whiskey and the empty glass.

JONATHAN

I don't want to be called "pop" — I'm not an old man. (fills glass) "Pa" has a nice ring to it.

Her face lighting up with a full grin, Martha raises her glass. Returning her grin with a smile, he brings up his own glass, clinking it against hers in a toast to their new parenthood.

INT. HEL'S BOUQUET — DAY

A lean, balding man in thick glasses stands before the front counter as Helen wraps a bouquet of flowers for him. Once she has finished securing the wrapping paper in place, she brings the bundle of beautiful flowers to the front and presents them to her waiting customer.

HELEN

That'll be $1.30.

As he hands her the money, she hands him the flowers.

DAN

You have a good day, Helen.

HELEN

You too, Dan.

As Dan leaves the counter and walks out the door, another customer — a short woman with shoulder-length blond hair — walks in. With barely contained enthusiasm, she strides up to the counter.

HELEN

Hi, Rose. What can I do for you today?

ROSE GREER

(grins) Did you hear the news?

HELEN

What news?

ROSE GREER

The Kents came in today.

HELEN

The Kents? What about them?

ROSE GREER

Y'know that storm last month? The big one?

HELEN

The one that toppled the tree in my sister's backyard. What of it?

ROSE GREER

It snowed in the Kents' farm somethin' fierce — buried it beneath a quilt of snow. That's why they haven't been in town since it hit.

HELEN

And?

ROSE GREER

You won't believe what's happened.

HELEN

(loses patience) Well out with it!

ROSE GREER

They had a baby!

HELEN

(taken aback) A baby?

ROSE GREER

Uh-huh. Looks like Jon put the bun in her oven some months back. (beat) You remember the ugly business with the miscarriages and that stillbirth —

HELEN

Yes, of course.

ROSE GREER

(cont'd) Well, they decided to keep it hush-hush — you know, just in case it didn't keep. (beat) Anyway, Martha delivered a baby boy while cooped up in that there farm. He's got the most gorgeous blue eyes.

HELEN

You've seen him?

ROSE GREER

Well, no — that's why I came to see you. I thought you'd like to pay Jon and Martha a visit with me.

HELEN

Why, certainly. (smiles thinly) Why not?

EXT. KENT FARM — KENT HOME/FRONT PORCH — DAY

Having arrived together, Helen and Rose walk up the porch steps to the front door. Rose brings up her closed fist, announcing their presence with three quick raps on the wood door. A moment passes, then Jonathan answers the door.

JONATHAN

(stoic) Hel. (happier) Rose!

Leaning forward, he gives both women a hug. He doesn't linger too long with Helen.

JONATHAN

You came to see the baby?

ROSE GREER

(grins) But of course. Can we come in?

JONATHAN

Follow me into the living room.

With no further need of persuasion on his part, the two women enter the Kent home.

INT. KENT HOME/LIVING ROOM — DAY

As Jonathan leads Helen and Rose inside, we find several family members and friends gathered around Martha, who sits on the armchair with the baby boy bundled up in her arms. As Rose and Helen approach the mother and child, their mouths fall agape.

HELEN

Martha ... the boy ...

ROSE GREER

He's beautiful.

MARTHA

(beams) Thank you.

Standing at Martha's side, Jonathan rests a hand on her shoulder.

JONATHAN

Helen Potter, Rose Greer, meet Clark Joseph Kent.

As the two women look down upon them. Clark meets their gaze and, smiling a wide, toothless smile, releases a giggle of delight.

EXT. SMALLVILLE — BYRNE ELEMENTARY SCHOOL — DAY

We have jumped forward to 1919. Clark is now five years of age and today is his first day of kindergarten. Entering the school grounds, his hand in Martha's, the young boy takes in the sight of the low brick building and all the children of various ages milling about it.

MARTHA

Here we are, Clark — your first day at school. (looks down at Clark) How do you feel?

CLARK

(looks up at Martha) Why can't I stay home, Ma? Why can't you and Pa teach me?

MARTHA

Because all the work we have to do on the farm keeps us busy, dearheart; we don't have the time to teach you.

CLARK

Can't you stop working on the farm awhile?

MARTHA

That'd be nice, Clark, but no. If we don't work, we can't pay for food and clothing. Then you'd go cold and hungry.

Taking his eyes off Martha, Clark looks out at all the children roaming about.

CLARK

There's so many boys and girls, Ma. What if they don't like me? (hugs Martha's leg) I'm scared. I don't wanna go to school.

Kneeling down, Martha rests her hands on Clark's small shoulders.

MARTHA

I get scared, too, Clark. I get scared when your pa and I can't make enough money to pay all our bills; I get scared when it's dark and I can't find a light; and I get scared whenever you hurt yourself. But I don't let my fear control me, Clark; I fight it — fight it hard. I fight it until it goes away. (beat) That's what you have to do, Clark — fight the fear until it gets scared of you and lets you alone.

Letting go of Martha's leg, the boy turns his attention back to the other children.

CLARK

I'll try, Ma.

MARTHA

That's my boy.

The school bell tolls. Hearing the reverberations, the kids begin flocking into the school to start their first day of class.

MARTHA

That's the school bell, Clark. You remember what it means?

CLARK

To go inside and start class.

MARTHA

You remember where your classroom is?

CLARK

Yes.

MARTHA

That's good. You go now, Clark, and have a good first day. I'll be back later to pick you up after school's over.

Tentative, Clark takes a step forward. Turning back, he waves goodbye to his mother. After she waves back, he turns away from her and resumes walking, crossing the grass all the way to the front entrance. Once he has slipped inside, Martha smiles. Turning around, she walks away.

INT. BYRNE ELEMENTARY SCHOOL/CLARK'S CLASSROOM — DAY

All the children have gathered inside and are seated at their tables. Standing at the head of the class, dressed in a gray-brown suit and a pair of thick-framed, square glasses, is MISS MAGGIN, a forty-something woman with graying brown hair and an immovable rictus grin for a smile.

MISS MAGGIN

(unnaturally enthusiastic) Hello, everyone! I'm Miss Maggin, your kindergarten teacher! This is your first day in school, and I know you're not used to being away from home yet! I promise, though, that in time you'll get used to coming to class and you'll all learn to have fun while you're here! (beat) Does anyone have any questions?

Had there been any crickets hiding in the classroom, they would've burst into song at that moment.

MISS MAGGIN

(cont'd) No questions? No questions at all? (beat) Alright — okay! That's just fine! It probably means you're all excited to get to know one another and start learning! (claps hands briskly) Everyone get up, move from your tables, and pair up with a friend or two! Find a place to get comfortable and tell each other your names, what your mamas and papas do, what your favourite colours are — whatever comes to mind! Share and learn! Share and learn!

Under Miss Maggin's compulsion, the kids rise from their tables and begin pairing up. Clark, a little more reticent than his classmates, chooses to remain seated while the others spread out within the room. Noticing Clark just sitting there, PETER ROSS — a freckled boy with light blond hair — approaches him.

PETE

Hi, my name's Pete. What's yours?

CLARK

Clark.

PETE

My dad owns a creamed corn factory; he makes a lot of creamed corn and packs it up in hundreds of tin cans. What does your dad do?

CLARK

My pa's a farmer and so's my ma. We've got cows and chickens and wheat and tomatoes and beans and corn, too.

PETE

Maybe my dad gets his corn from your dad.

CLARK

Maybe.

PETE

What's your favourite colour, Clark? Mine's green.

CLARK

Red's my favourite. (beat) No, blue. (frowns) Maybe yellow?

Pete just stands there, staring at Clark. Clark goes silent, freezing up. Then, from out of the blue, Pete begins laughing, guffawing uproariously. The tension broken, Clark laughs right alongside him. Laughing like a pair of hyenas, tears begin running down their faces as everyone else in the room turns to regard them as if they were the strangest two young boys on Earth.

EXT. SMALLVILLE — BYRNE ELEMENTARY SCHOOL — PLAYGROUND — DAY

Some time has passed and the kids of Miss Maggin's class have been let out for recess. Walking together, Clark and Pete make their way to the swing set. As they near the swings, they find BRAD WILSON, WHITNEY FORDMAN, and JASON TEAGUE — all in the first and second grade — surrounding and picking on KENNY BRAVERMAN, a small black boy from their class.

BRAD WILSON

How's your first day in school, boy? Learn anything yet?

WHITNEY FORDMAN

Yeah — you learn where your jungle is on the map, Sambo?

KENNY

(stammering) P-p-please — lemme alone! I didn't do anything to you!

JASON TEAGUE

You don't belong here. This is a normal school for normal kids.

BRAD WILSON

Get outta here!

Lunging forward, Whitney shoves Kenny, knocking him to his stomach. Stooping down, he places a hand on the back of Kenny's head and begins pushing his face into the earth.

WHITNEY FORDMAN

Eat it, nigger! Eat the dirt you're made of!

As the older kids heap abuse on Kenny, Clark and Pete stand there, frozen, unsure of what to do.

PETE

Maybe we should help him.

CLARK

I don't know….

As the two five-year-olds ponder on what to do, LANA LANG — a cute girl with bright red hair who is also from their class — strides up to the bullies, an expression of angry indignation creasing her round face.

LANA

You let him alone, you meanies!

Grabbing Whitney's collar, Lana pulls back, trying to yank him off Kenny. Grabbing her collar, Brad easily pulls Lana away from his friend. Flailing her clenched fists about in the air, Lana tries connecting with the punk's nasty face without success.

LANA

I'm telling on you!

BRAD WILSON

G'wan, carrot-top — beat it!

Grabbing Lana by the face, Brad pushes her back. Sprawling, she falls to the earth. Finally deciding that enough is enough, Clark leaves Pete's side. Clenching his fists and holding his head high, he approaches the three bullies and their victim.

CLARK

Let him alone!

Nearing Whitney, Clark shoves him, calling up all the strength available to his small body to knock the larger boy off the black boy. Unprepared for the attack, the bully is pushed over on his side.

WHITNEY FORDMAN

Hey!

Offering his hand to Kenny, Clark helps him to his feet. Positioning himself in from of the smaller boy, he acts as a shield between Kenny and the three bullies.

CLARK

(points at Brad) If you don't let him alone, I'm going to tell Miss Maggin about you.

BRAD WILSON

(mocking) Ooh, you're gonna tell Miss Maggin about us! (sneers) Go ahead, nigger-lover — tell her.

Brad violently grabs the front of Clark's shirt. Baring his teeth, Clark slaps the rude hand off him.

CLARK

Don't touch me again!

As one, the three older boys crowd in on Clark, prepared to beat the living tar out of the defiant kindergartener. Before tensions can escalate that far, one of the school teachers appears on the scene.

TEACHER

(approaches children) What's going on here‽ What are you boys up to‽

The trio backs away from Clark and Kenny.

JASON TEAGUE

(grins) Nothin'. We's just playin' with the new kids.

BRAD WILSON

Yeah, we's just playin'. (narrows eyes at Clark) Ain't that right?

Clark stares bullets at the older boy, not speaking a word.

TEACHER

Play or no, there'll be no rough housing on this playground. Do I make myself understood?

BRAD WILSON

(eyes on Clark) Yes.

Satisfied, the teacher departs. Once the instructor is out of earshot, the first boy looms menacingly over Clark.

BRAD WILSON

(pokes Clark in chest) You and your coon get a pass this time, runt. Next time, we'll pummel you both into ground chuck.

At that, the three older boys move off. Once they're gone, Clark turns to Kenny.

CLARK

You okay?

KENNY

Yeah. Thanks.

CLARK

What's your name?

KENNY

Kenny — Kenny Braverman.

Moving in, Pete and Lana join Clark and Kenny.

PETE

It's super how you stood up to them, Clark! I wish I was as brave as you!

LANA

(hugs Clark) I like you! You can be my boyfriend!

The amount of attention and affection proving to be too much for him to handle, Clark blushes.

INT. TRUCK/CAB — DAY

Hours later, Clark sits in the passenger side of the family Model T as Martha drives them back home.

MARTHA

Did you have a good day at school today, Clark?

CLARK

Yeah.

MARTHA

Did you make any friends?

CLARK

Three. First was Pete Ross. His pa owns a creamed corn factory.

MARTHA

Uh-huh. Your pa and I have met Mr. Ross.

CLARK

(cont'd) Then there's Lana Lang. She's a girl. She has lovely red hair.

MARTHA

(smiles) She's Hel's niece. You remember Helen.

CLARK

Uh-huh. (beat) Then there's Kenny Braverman.

MARTHA

Braverman? His family must be new in town.

CLARK

Ma ...

MARTHA

Yes, Clark?

CLARK

What's "nigger" mean?

MARTHA

(faces Clark) It's what some people call Negroes.

CLARK

Is it a bad word?

MARTHA

Yes.

CLARK

Some big kids called Kenny that. They were picking on him, shoving his face in the dirt. Why were they doing that?

MARTHA

Well, Clark, some people don't like Negroes.

CLARK

Why don't they like them?

MARTHA

I suppose it's because they don't understand them. Too many people are afraid of what they don't understand.

CLARK

If they understood them...?

MARTHA

They'd see them as God's children, created in His image, just as they are.

CLARK

The boys who were being mean to Kenny — could they learn to understand Negroes?

MARTHA

It's hard for people to change, Clark, but not impossible. They'd have to want to change first.

CLARK

How can you make a person want to change?

MARTHA

The best you can do is provide a good example and hope they follow it. If you do good things for good reasons, those boys might think about why you're doing them. If they think long and think hard on them, they may come around to your point of view.

CLARK

So if I show those kids that Negroes are good, they'll learn they're good?

MARTHA

(smiles) Something like that, honey.

INT. BYRNE ELEMENTARY SCHOOL/CLARK'S CLASSROOM — DAY

A number of months later, Clark sits at his table in his classroom. Strangely enough, only about half of Miss Maggin's students are present today, with only one other child sharing Clark's table: Kenny.

CLARK

(to Kenny) Where is everybody? I haven't seen Pete or Lana in days.

Kenny, his eyes red, looking as sick as the proverbial dog, coughs violently in Clark's face, spraying droplets of saliva in the other boy's eyes.

CLARK

(disgusted) Yuck!

KENNY

(runs hand across runny nose) Sorry, Clark.

Hearing Kenny's coughing, Miss Maggin marches straight up to their table, an expression of concern worn across her face.

MISS MAGGIN

Kenny, are you feeling alright?

KENNY

Not very, ma'am.

MISS MAGGIN

(sighs) I'm going to give your father a call to come over and take you home. There's no sense in you being here sick as you are.

KENNY

(horrified) Oh, no, ma'am! Please! I'm not that sick — not really!

MISS MAGGIN

Nonsense! You've come down with measles, child, and I'll not have you stay in this class one minute longer than necessary!

Turning on her heels, Miss Maggin promptly marches off in search of a telephone. Despondent, Kenny lowers his head to the table, hiding his face in his arms.

CLARK

Oh, c'mon, Kenny. It's not that bad.

KENNY

You don't know my daddy, Clark.

INT. KENT HOME/LIVING ROOM — DAY

Jonathan is seated in his armchair, feet propped up on a footstool, reading through a pulp magazine when Clark and Martha enter the room.

JONATHAN

(faces Clark) Have a good day in school today, son?

CLARK

It was okay, I guess. (beat) There weren't many kids in class today and Kenny got sent home early; he wasn't feeling very good. (grimaces) He coughed on me.

JONATHAN

(frowns) He coughed on you?

CLARK

Right in my face.

JONATHAN

Go wash up.

CLARK

I feel fine, Pa.

JONATHAN

Doesn't matter. Go wash your face and don't forget to use soap.

Shrugging, Clark leaves the living room in search of a sink. Martha takes a seat across from her husband.

MARTHA

It's measles; most of the children have come down with it. (beat) I hope Clark doesn't get sick.

A moment of silence passes between them.

JONATHAN

Has Clark ever been sick, Martha?

MARTHA

Hmm?

JONATHAN

Really, Martha, think. In the six years Clark's been with us, have you ever seen him come down with a fever, a cough, a single, solitary sniffle?

MARTHA

(frowns) Of course I have!

JONATHAN

Name a time.

MARTHA

Well, I … I ...

JONATHAN

Remember last November, when we were both struck down with the flu? We were so sick we couldn't care for Clark at all; we had to leave him with your brother, Kendall, 'til we got over it. Clark, though, he remained chipper as a jaybird. Then there was the March before, when Curt got chicken pox. He surely should have caught it from him; he didn't.

MARTHA

He's been lucky, that's all.

JONATHAN

(skeptical) Mayhap….

MARTHA

Jonathan Kent, what are you saying? That our boy can't ever get sick‽

JONATHAN

I'm not saying anything. (beat) It's just queer — damned queer.

EXT. LANG HOME/FRONT YARD — DAY

We have jumped forward to 1923. Clark and Pete, now in the third grade, ride their bicycles down a gravel driveway to the home of Lana Lang and her parents. Clark has with him a catcher's mitt while Pete carries a sheathed baseball bat slung across his back. Pulling up to the front steps of the house, they climb off their bikes and go to the front door. Leaning forward, Pete gives the door six solid raps with his fist. A stocky man with receding blond hair and a pencil thin mustache answers the door.

PETE

Hi, Mr. Lang.

LEWIS LANG

Boys. What can I do for you?

CLARK

We're going to the school yard to play some baseball.

PETE

And we need a ball. Can Lana go grab hers and come play with us?

LEWIS LANG

Sorry, boys. Lana's not here.

CLARK

She isn't?

LEWIS LANG

She left with the Braverman boy fourteen-odd minutes ago.

PETE

You know where they were off to, Mr. Lang?

Lana's father shakes his head.

CLARK

Dang….

EXT. RURAL ROAD — DAY

Clark and Pete are making their way back from the Lang home along a long, empty stretch of open road when Lana, on her own bicycle, comes toward them from the opposite direction.

LANA

(raises arm) Guys!

The boys hit the breaks as Lana pulls up alongside them.

PETE

(annoyed) We were supposed to play ball today!

LANA

Kenny found this swell place! You've gotta come see it!

CLARK

What place?

LANA

C'mon, follow me.

Putting the pedal to the metal, Lana turns around and goes back the way she came. Exchanging short glances, Pete and Clark quickly follow along after her.

EXT. FOREST — TRAIL — DAY

The two boys and girl ride their bikes along a narrow dirt trail surrounded on both sides by tall trees. Lana soon comes to a stop. Hopping off her bike, she deposits it off to the side of the trail and heads into the trees.

LANA

It's not much farther now.

EXT. FOREST — CLEARING — DAY

The three children soon emerge from the trees into a small clearing. In the centre of the clearing is a small decrepit shack and the rusting remnants of a moonshine operation. As Lana leads the two boys through this landscape toward the cabin, they take the sights around them in with awe.

PETE

Wow. What is this place?

LANA

Don't know, but ain't it the neatest? Kenny found it.

CLARK

Where's Kenny at, anyway?

At that moment, the door on the shack swings forward on it's rusted, broken hinges with a large squeak. Kenny promptly steps out.

KENNY

(smiles) Hi, guys! Glad you could make it! (holds up jug) look what I found!

As the others join Kenny, he hands the jug out to Clark. Taking it, Clark holds it up to the sunlight so as to get a better look at the contents nestled inside the brown glass.

KENNY

It's hooch. My grandpappy down in Tennessee made some just like it.

PETE

What do you use hooch for?

KENNY

You drink it, dummy.

Uncorking the jug, Clark brings the spout up to his nose and takes a few short sniffs. As soon as the scent of the liquid hits his nostrils, he cringes.

CLARK

UGH! It smells real strange.

KENNY

That's what it's supposed to smell like. (beat) Let's taste it.

Raising the jug to his lips, Clark takes a sip. He spits it out automatically.

CLARK

It tastes awful!

Repulsed, Clark tilts the jug over to pour the moonshine out. Horrified, Kenny reaches out to snatch it from him.

KENNY

What the hell are you doing‽

Wrestling with Clark, Kenny manages to pry the jug out of the other boy's hands. It's too late, though; the jug is completely empty.

KENNY

(angry) Goddammit!

LANA

(shocked) You took the Lord's name in vain!

KENNY

Oh, shut up. (hurls jug) That was the only one, too.

A moment of tense silence passes between the four.

PETE

So … there's nobody using this place, is there?

KENNY

(grumpy) Nobody's been here in years.

PETE

Then we should make it our own place. Y'know, our own hangout. (beat) Yeah. All we need to do is clear out the junk, spruce the cabin up a bit, and it'll be good as gold.

LANA

Say, that's not a bad idea.

Leaving the boys, Lana walks up to a tarnished green copper still lying on its side in the grass. Taking its handles, she begins pulling on it; with effort, she slowly begins dragging it to the edge of the clearing. Deciding to help her out, the boys join her, each adding their weight and strength to the endeavour to get it out of the way.

EXT. FOREST — CLEARING — MONTAGE

Over the next couple weeks, Clark, Lana, Pete, and Kenny return to the clearing to work on converting the disused hooch station into their own private hangout. Together, they work to clear out the old stills and other distilling equipment while trying — with limited effect — to shore up the sagging walls of the shack.

As the long days of work finally come to an end, Clark takes a sign that he has made and hammers it down in the earth in front of the cabin. Written on the front of the sign in big, bold, black painted letters is "FORTRESS OF SOLITUDE".

INT. SHACK — DAY

Clark, Pete, and Lana sit together in the shack, engaged in conversation.

LANA

(cont'd) Mama and Daddy actually took me to see a picture show while we were in Salina.

PETE

(amazed) You actually got to watch a picture show‽

CLARK

What was it about?

LANA

It's about this silly little man with a small mustache who finds an abandoned baby boy and adopts him. They go around town conning people — the boy breaks their windows and the man charges them for repairs, y'see — until the police catch up to them and separate them before they're finally reunited. They even meet the boy's mother at the end. (beat) It's the funniest thing I've ever seen in my life!

CLARK

I've always wanted Ma and Pa to take me to see a movie, but Salina's too far out of the way for us. (sighs) I wish Smallville had its own movie house.

LANA

Oh, we'll get one eventually — by 1978, therabouts.

PETE

We'll be old men by then!

LANA

(cocks eyebrow) Not me.

CLARK

"I".

LANA

Huh?

CLARK

The pronoun you're looking for is "I", not "me". You should've said "Not I".

LANA

Well hello, Mr. Fancy Pants English Professor! I bet you don't even know what "pronoun" means.

CLARK

(smirks) A pronoun is a word that substitutes for a noun.

LANA

You think you're so smart, don't you, Clark?

Clark just shrugs, the hint of a smug smile worn at the corners of his mouth. Lana sticks her tongue out at him.

At that exact moment, the shack door creaks open and Kenny steps inside. Moving gingerly, he closes the door and crosses over to the opposite end of the shack, away from the others. Sitting down, we can see he wears a large bruise over the left side of his morose face.

LANA

(concerned) Gosh, Kenny — what happened to your face?

KENNY

(turns bruised side of face away from them) Just had an accident, that's all. It's nothin' to talk about.

Though the three other children have a pretty good idea where Kenny's bruises came from — that they aren't just the result of an unfortunate accident — they choose to ignore the elephant in the room, at least for now.

Time passes.

Clark, Pete, and Lana are currently engaged in a game of strip poker. While Lana has lost only her shoes and socks, Clark has lost his shirt and Pete is down to his underpants. Kenny, having chosen not to play, sits off to the side watching them.

PETE

(frowns) Why did we agree to play this dumb game?

The kids hear a commotion outside the shack.

PETE

There's somebody outside!

Abandoning their game, the kids hurry to redress.

EXT. FOREST — CLEARING — DAY

There are indeed visitors to the kids' Fortress of Solitude: Brad Wilson, Whitney Fordman, and Jason Teague, older than when we saw them last. Taking no care to watch where he's going, Whitney trips over one of the old stills that was dragged away to the edge of the clearing and nearly topples over it.

WHITNEY FORDMAN

Son of a goddamn —!

Grinning like the Cheshire Cat, Jason gives Whitney a solid kick in the ass. Enraged, Whitney turns on the other boy and shoves him hard to the ground. Before they can get into a committed scuffle, Brad breaks them up.

BRAD WILSON

Cut it out, dingbats.

INT. SHACK — DAY

Having opened the door a crack, Pete peers out.

PETE

Aw, great — it's the Three Assketeers!

Pete quickly shuts the door and leans his back up against it, bracing it shut.

PETE

(cont'd) What are we gonna do? They're gonna run us out of here! I just know it!

LANA

They can't do that!

PETE

Go ahead, tell 'em that. See how generous they are.

CLARK

This is our fortress; I'm not gonna let them just steal it from us.

KENNY

They're bigger and stronger than all of us put together, Clark. We can't beat them.

CLARK

C'mon, they're gonna find us in here sooner or later; may as well make it sooner.

Pushing Pete out of the way, Clark pulls the door wide open and steps outside.

EXT. FOREST — CLEARING — DAY

As the Three Assketeers make their way into the centre of the clearing, Clark appears before them. Noticing the younger, smaller boy, they come to a halt.

JASON TEAGUE

Well, well, well — if it ain't liddle widdle Clarkie.

BRAD WILSON

You by your lonesome, Kent, or is the rest of the sissies with you?

Slowly yet surely, the others step out of the shack, joining Clark.

JASON TEAGUE

(chuckles) Nice bruise you have there, Braverman. I hardly noticed it under your black skin!

Kenny recoils, almost disappearing back inside the shed.

WHITNEY FORDMAN

G'wan, twerps, get out of here! This place is ours!

LANA

(angry) We were here first!

CLARK

We spent weeks cleaning this place up! It's ours by right!

BRAD WILSON

(to Whitney & Jason) Listen to the runts…. (to third graders) Listen, you clear out — and I mean right now — and I don't send you home in pine boxes, alright? Now go.

Leaving his friends, Clark walks right up to Brad. Looking up at the taller boy, he locks gazes with him.

CLARK

Look, I know I can't fight you; you'd easily kick my can, okay? So how about we compromise?

JASON TEAGUE

(puzzled) Compromise?

CLARK

Yeah, we reach a middle ground — you get some of what you want, we get some of what we want. (beat) How about this: You guys can have the place on Mondays, Wednesdays, and Fridays, and we'll get it Tuesdays, Thursdays, and Saturdays.

WHITNEY FORDMAN

What about Sundays?

CLARK

Each Sunday, we'll flip for it. Best three out of four wins. (beat) So what do you think? Can we make that work?

Looming in close, Brad seizes the front of Clark's shirt in his strong hands.

BRAD WILSON

What I think is I'm gonna enjoy feeding you my knuckles, you little turd.

Brad then punches Clark in the gut — hard. Doubling over, Clark doesn't even have time to register the blow before the larger boy delivers another — this one right to the face. As teeth fly and blood sprays through the air, Clark goes down.

BRAD WILSON

(points at Lana, Pete, & Kenny) This shack is ours — Monday, Tuesday, Wednesday, Thursday, Friday, Saturday, and Sunday — got it? Now pick this ninety-pound weakling up and get the hell outta here before you get the same.

Sitting up, Clark puts a hand up to his split lip and bleeding nose. Eyes aflame with hatred, he stares daggers at Brad.

INT. KENT HOME/LIVING ROOM — DAY

Jonathan and Martha are engaged in a game of chess when they hear the front door thrown open and Clark storm in. Turning their attention away from the board, they see Clark — lip swollen, cheek bruised, and frown as deep and dark as a moonless midnight — stomp off to his bedroom.

INT. KENT HOME/CLARK'S BEDROOM — DAY

Entering the bedroom, brimming with rage, Clark throws himself face-down atop his bed. Burying his face in his pillow, he finally allows himself to cry.

EXT. ROAD — PASTURE — DAY

Some number of weeks have passed and Jonathan is currently behind the wheel of the Model T, driving out into town alongside a large pasture. Just as he rounds a curve, he spies Clark — returning from one of his jaunts with his friends — crawl under the fence enclosing the pasture and take off into a run through the long grass. Hitting the brakes, Jonathan leans over and puts his head out the passenger side window.

JONATHAN

Clark!

Running remarkably fast for a boy of his short stature, Clark is already out of earshot of Jonathan's cries. Returning to the wheel, he hits the gas and makes a U-turn.

JONATHAN

Clark!

Hearing Jonathan for the first time, Clark halts in mid-stride and turns around.

JONATHAN

Clark, I've told you before — don't cut across old man McCulloch's pasture!

CLARK

But Pa —

JONATHAN

No "but pa's" from you, boy. McCulloch's prize bull is likely out and about this time of day. Now come here; I'll drive you home.

Jonathan hits the breaks, waiting for Clark to obey him. Sighing loudly, Clark throws his arms up in resignation and begins making the trek over to the side of the road where Jonathan is waiting. Unfortunately, it is at that very moment McCulloch's prize bull makes its appearance. Noticing the small intruder in its pasture, the ornery ungulate breaks out into a full charge towards Clark.

JONATHAN

(mortified) Clark!

Jumping out of the truck, Jonathan hops the fence in a mad dash to save his son, but he is too far away and too late. As the bull comes upon Clark, the boy can't even so much as turn around as the animal brings its hooves down on his small back, driving him hard into the ground before finally trampling him underfoot.

JONATHAN

(screaming) No!

As the bull disappears into the distance, Jonathan runs up to Clark, tears streaming from his eyes. He is fully expecting to see Clark crushed and bloody, on his way to death's door if he isn't there already. Remarkably, Clark is alive, conscious, and completely unharmed. His hair is mussed, his skin dirty, his clothes torn, and an expression of absolute shock etched into the features of his face, but physically, there isn't a single scratch on him.

CLARK

(terrified) P-pa‽

JONATHAN

Cl-Clark? (beat) You're … you're alright?

Dropping to his knees, Jonathan scoops Clark up into his arms. Hugging the boy close to him, he begins weeping with extreme joy.

JONATHAN

Oh God! Oh thank you, God!

INT. TRUCK/CAB — DAY

Jonathan and Clark are now in the truck, headed back home.

JONATHAN

Son, what happened in McCulloch's pasture … we're gonna keep that between us right now, alright?

CLARK

We're not gonna tell Ma?

JONATHAN

I'll tell her, son … but only when the time's right. Right now … the time's just not right. You understand?

CLARK

No….

Reaching over, Jonathan rests his hand on Clark's shoulder and gives it a short rub.

JONATHAN

(half-smiles) It's alright, son. It's alright….

EXT. KENT FARM — KENT HOME — DAY

Pulling up beside the Kent home, Jonathan and Clark get out of the truck and head up the front steps. Martha, who has been sitting out on the front porch reading a novel, leaps up out of her seat when she sees the condition Clark's in.

MARTHA

(shocked) Land's sake, Clark! What happened to you‽

Crossing over to her young son, she begins feeling him over for injuries.

JONATHAN

He just got into a little rough housing with the other children.

MARTHA

(nonplussed) A little rough housing‽

JONATHAN

(shrugs) Boys will be boys.

MARTHA

(to Clark) I don't see or feel any injuries. Do you hurt anywhere, Clark?

CLARK

I feel fine, Ma.

MARTHA

Alright. (beat) Head on inside. You need to get out of those clothes and into a hot bath right away.

Obeying, Clark heads on inside the house. Exchanging one, short, questioning glance with Jonathan, she follows in after him.

INT. BARN/STORAGE AREA — DAY

The next day, Clark enters the barn. Pulling one of the big wooden doors open as far his small frame will allow, he slips inside. Taking one quick glance outside to see if anyone noticed him, he then pulls the door closed. Stepping deeper inside the barn, past the tractor and a pile of wooden boxes, Clark comes to the ladder which leads to the loft above. Looking up, he nervously wipes his sweaty hands off on his pants and takes hold of the rungs. Cautiously ascending the wooden ladder, he looks down upon reaching the midway point — and immediately regrets it.

CLARK

(closes eyes) Don't look down. Don't look down….

Fighting his fear of heights, Clark resumes the climb and in short order reaches the top.

INT. BARN/LOFT — DAY

Stepping onto the loft, he looks down; the distance between him and the ground floor is great enough to make the boy swoon. Walking backward, Clark works his way to the back of the loft.

CLARK

I can do this. I can do this. I have to do this. I have to know.

Tensing his muscles, gritting his teeth, young Clark takes off in a sprint. Crossing the length of the loft in seconds, the boy launches himself off.

INT. BARN/STORAGE AREA — DAY

Thrown clear into the air, gravity takes hold and Clark plummets — plummets straight down, hits the tractor, caroms off, and crashes hard into the pile of boxes. Completely unharmed, Clark picks himself up. Dusting his clothes off, he looks himself over.

That's when a fiendish grin comes to his face.

EXT. STREAM — DAY

Lana, Pete, and Kenny sit by the edge of a stream. While Pete tries catching some fish using a piece of string tied to the end of a stick, Lana lazily tosses pebbles into the water while Kenny chews at his knuckles. All three are bored out of their ever-loving minds.

Riding on his bike, Clark pulls up beside his friends.

CLARK

Hey, guys! How's tricks?

LANA

Tricks is bored. (tosses two pebbles in quick succession into stream) Very, very bored.

CLARK

I've found this place we can go. It's bound to be fun.

PETE

What place?

CLARK

I'll take you there. First, we need to collect some rocks.

LANA

What for?

CLARK

(grins) You'll see. (beat) C'mon.

Shrugging, the three kids abandon their meagre activities and join Clark in his rock hunt.

EXT. FOREST — TRAIL — DAY

Clark and the others ride along the trail on their bikes, pant and shirt pockets laden with as many stones as they can carry.

LANA

(apprehensive) Where are we going, Clark?

CLARK

I told you — you'll know when we get there.

LANA

But this trail takes us —

CLARK

Hush up!

Resigned, Lana hushes up. They continue along their route in silence.

EXT. FOREST — CLEARING — DAY

Reaching their destination, Clark hops off his bike. There before them stands the weathered shack they once called home away from home.

PETE

Why'd you take us here for?

KENNY

Yeah, what's the story?

CLARK

(frowns) We're here for compensation.

PETE

Compensation? What‽

Guiding his bike alongside him, Clark approaches the shack with single-minded purpose. Stopping some distance away from the decrepit building, he reaches into a pocket and pulls out some rocks. Pulling his arm back, he then hurls the rocks at the wooden shack, each one scoring a direct hit with a solid thwack.

CLARK

Hey, you in there — open up!

Brad, Whitney, and Jason quickly come out.

JASON TEAGUE

(pulls blade of straw out of mouth) Well, well, well — if it ain't the Four Musketeers.

BRAD WILSON

What are you stains doing back here? We told you never to come around no more.

CLARK

That's "anymore", you dunce!

BRAD WILSON

(sneers) What was that word you called me, pipsqueak?

CLARK

A dunce, Brad. It's not too big a word; it means the same as birdbrain, bimbo, oaf, and idiot.

BRAD WILSON

(points at Clark) I'm gonna feed you your tongue!

CLARK

Watch the birdie!

Fishing out another rock, Clark lets it fly. Whistling through the air, it hits Brad hard in the face, right in the cheekbone.

BRAD WILSON

ARGH! (clutches face) I'll kill you! I'll kill you to death!

CLARK

(hops on bike) Let's blouse!

Clark takes off on his bike and his friends follow suit. Crossing to their own bikes, the three bullies hop on and begin the chase.

EXT. RURAL ROAD — DAY

Emerging from the woods, the four youngsters come out onto the open road, pedalling as hard as they can to get away from the Three Assketeers. The three older bullies soon emerge from the trees behind them. Clark hits the brakes, skidding to a stop.

LANA

(mortified) Clark!

CLARK

(waves them away) Go! Keep pedalling!

Bewildered, Lana, Kenny, and Pete take their friend's advice and keep on pedalling, leaving Clark behind to face the Assketeers alone.

Coming upon Clark, the three older boys surround him, trapping him in a circle.

CLARK

(waves at them; smiles) Hey there, gang!

Jumping off their bikes, the three move in on Clark. Roughly taking Clark by the front of his shirt, Whitney pulls him from his bike.

BRAD WILSON

(enraged) Over there!

As Jason goes to work on Clark's bike, stomping on, throwing, and kicking it, Whitney and Brad take the kid over to the side of the road.

BRAD WILSON

You're in for a world of hurt!

As Whitney holds Clark firmly in place, Brad clenches his fists and drives a hard uppercut into Clark's gut. Clark doesn't even flinch from the blow.

CLARK

(smirks) I couldn't quite feel that. May I have another?

Frowning, Brad punches Clark in the gut again.

CLARK

I'm sorry. One more ought to hit the spot.

Uttering a low growl, Brad punches Clark in the face — a roundhouse punch from the left; then the right; then an uppercut into the chin. When none of those result in so much as a whimper, Brad finally goes and knees Clark in the groin.

CLARK

(grins) Is that the best you have?

Clark throws his head back, bashing Whitney's nose in. Blood spurting from his broken nose, Whitney lets go of Clark and drops to his knees, crying out in agony. Turning on Brad, Clark leaps onto him, tackling the larger boy to the ground.

JASON TEAGUE

Hey!

Leaving Clark's dented bicycle, Jason rushes to Brad's aid. Clark sees him coming and spins around just in time to deliver a solid kick to Jason's chin which sends him over backwards, knocked senseless.

BRAD WILSON

(horrified) What the hell are you‽

CLARK

(sneers) A ninety-pound weakling, remember?

Clark then punches Brad in the face, knocking his head back.

CLARK

(cont'd) Remember that, Brad? Remember‽

Clark punches him again.

CLARK

(enraged) Then remember this: You're not gonna bully me again; (punches Brad) you're not gonna bully my friends again; (punches Brad) you're not going to tease us; you're not going to taunt us; (punches Brad) you're not going to call us names like weakling or twerp or carrot-top or nigger; (punches Brad twice) you're not going to take our fortress, which we cleaned up, which we put together, and drive us out; (punches Brad) and you're not going to hurt us — never, ever, ever again!

As Clark prepares to deliver the final blow, a large adult hand reaches out and seizes his arm in a tight grip, stopping him. Clark turns around. Standing over him, shock and disgust evident on his face, is Jonathan.

CLARK

(surprised) Pa!

The assault at an end, Brad — face stained with his own bright red blood and running tears — gets the hell out of Dodge, bawling as he takes off in a dead run for somewhere — anywhere — where Clark won't find him.

Angry, Jonathan drags Clark over to the Model T. Flinging the side door open, he pushes his son inside.

INT. TRUCK/CAB — DAY

Jonathan sits behind the wheel, a deep frown fixed on his face as he drives along the rural road. Clark sits beside him, arms crossed over his chest, a deep scowl worn on his own face.

CLARK

I hate Brad Wilson.

JONATHAN

You must. Otherwise you wouldn't have turned his face into ground chuck.

CLARK

He threw the first punch, Pa! He took our fortress from us! He's big —!

JONATHAN

And you're invulnerable, Clark; you can't get hurt. You have to take responsibility for your power; you can't abuse it.

CLARK

You want me to be a loser and a wimp.

JONATHAN

No, son, I don't. I want you to use your head instead of your fists.

CLARK

A man stands up for himself.

JONATHAN

Know all about bein' a man, huh? Does a man hurt people weaker than himself? (beat) Well, boy, does he?

Clark doesn't answer; his chance to is cut off when Rose Greer dashes out into the road, right in front of the truck.

JONATHAN

(surprised) Holy!

EXT. RURAL ROAD — DAY

Jonathan hits the brakes just in time to avoid a collision. Rose wastes no time crossing over to Jonathan's side of the vehicle, panic clearly etched across her face.

ROSE GREER

(panicked) Oh God, Jonathan! You have to help me! Please — help!

JONATHAN

(climbs out of truck) Rose! What's wrong‽

ROSE GREER

The house, Jonathan! It's the house! The house is on fire and Bud's trapped! Bud's trapped inside and I can't get him out!

Looking into the fields beside the road, Jonathan sees a two-storey house situated in the distance; it is ablaze, a trail of dark gray smoke billowing straight up from it into the clear sky.

JONATHAN

Jesus. (beat) Stay here, Rose. Watch Clark.

Jonathan takes off in a dash for the burning house, leaving Rose and Clark by the truck.

INT. GREER HOME/ENTRANCE HALL — DAY

Bursting through the front door, Jonathan finds the air heavy with smoke. Instantly assaulted by the miasma, Jonathan pulls out a handkerchief and holds it over his mouth and nose.

JONATHAN

Bud! Bud, where the hell are you‽

A wail of anguish comes down the stairs from the second storey, where the fire is burning its worst.

JONATHAN

Just hold on, Bud! I'm coming!

Crossing to the stairs, Jonathan dashes up the steps.

INT. GREER HOME/BEDROOM — DAY

Passing through the licking orange flames and greasy smoke, Jonathan steps inside the Greer bedroom. Inside, struggling upon the floor, is Bud Greer. The inferno having compromised its structural integrity, the roof on this side of the house has caved in; a wooden beam lies across Bud's legs, pinning him to the floor.

BUD GREER

(panicked) Lord help me! AAAAHHH!

Coming to Bud's aid, Jonathan lays his hands upon the beam and tries pulling it up and away from the trapped man.

JONATHAN

(groans) I can't budge her, Greer! (beat) I'm gonna try to reach underneath and pull your legs out!

Jonathan reaches under the beam and takes hold of one of Bud's legs and begins working to pry it loose. At that very moment, fiery debris rains down in the hall outside the bedroom. In response, Bud grabs Jonathan, pulling him close in desperation.

BUD GREER

Oh, Jesus! Hurry, Kent! The flames! Please —!

JONATHAN

(grits teeth) Alright, Bud, you gotta let go….

BUD GREER

The flames are getting closer!

JONATHAN

(frustrated) Shut up, Greer!

Pulling at Bud's legs, Jonathan finally manages to dislodge them. Pulling the man up onto his feet, Jonathan makes haste for the stairs.

EXT. GREER HOME/FRONT YARD — DAY

Rose and Clark have come down the driveway and now stand at a safe distance away from the house. Rose holds Clark's hand, both worried as the small building is consumed. Jonathan and Bud then finally emerge from the burning wreckage. Moving away from the intense heat, they drop down into the grass — coughing, exhausted, and dirty, but alive.

CLARK

(concerned) Pa?

JONATHAN

(coughs) I'm okay, son. (coughs) We're okay.

Clark is amazed by his father's show of selfless heroism.

CLARK

Wow.

EXT. KENT FARM — KENT HOME — DAY

We have jumped forward a year. Jonathan and Clark are now in their front yard, working on repairs to the Model T. A farm jack precariously propping up the rear end of the vehicle, Jonathan lies beneath the vehicle's undercarriage, working away while Clark sits crouched down low with a toolbox beside him.

JONATHAN

Alright, hand me the wrench.

Reaching into the toolbox, Clark fishes around until he finds the wrench and hands it to his father. Opening the front door, Martha steps out onto the porch.

MARTHA

Time to get yourselves inside and washed up, boys. Supper's on.

JONATHAN

(sighs) I guess we're calling it a night, Clark. (beat) It looks like rain. Pick the tools up and put the box in the cab.

Collecting the loose tools, Clark takes up the toolbox, crosses to the right side of the truck, and opens the door. That action is enough to pop the jack loose. Registering the imminent danger, Clark reacts automatically; in a blur of motion, he dashes over to the back end of the truck, grabs the underside of the bed, and holds it there in place, preventing the vehicle from collapsing onto Jonathan and crushing him.

CLARK

Got it, Pa! (pained) Can't hold it….

Jonathan scrambles out from beneath the truck, his small son straining to hold up a vehicle the elder Kent couldn't begin to lift under his own power. Once Jonathan is clear, Clark lets go, allowing the rear of the truck to slam down. Martha just stands there on the porch, flabbergasted.

INT. KENT HOME/LIVING ROOM — NIGHT

Jonathan sits on the couch while Martha paces about the room, restless and irate.

MARTHA

(cont'd) For a whole year you've known! Land's sakes alive! A whole year!

JONATHAN

I was planning on telling you, Martha….

MARTHA

(stops in mid-stride; faces Jonathan) That date wouldn't have coincided with Clark's 18th birthday by any chance, now, would it?

JONATHAN

What should I have said, Martha? "Honey, a bull trampled our son into the earth this afternoon, but don't you worry, 'cause our boy's a modern age Achilles; he got right back up without so much as a scratch on him."? (beat) I wanted to give it some time, figure out a way to break the news to you gently, to … to avoid a reaction.

MARTHA

(taps foot impatiently) What type of reaction?

JONATHAN

(frowns) This type of reaction, exactly! (beat) I figured on telling you sooner, but I guess the time got away from me….

Sighing, Martha lets her frustration go. She takes a seat beside her husband on the couch.

MARTHA

But this is the first time Clark … did this?

JONATHAN

He certainly wasn't a Hercules in miniature last year, I can tell you.

Her features creased with worry, Martha takes Jonathan's hands in hers.

MARTHA

First invulnerability, then superhuman strength. By God, Jonathan, what if this is only the beginning? What if Clark develops more abilities? What if he becomes … what is our son going to become?

JONATHAN

He'll be our son, Martha, come what may. Trust in that.

INT. KENT HOME/DINING ROOM — DAY

We have jumped forward to 1925. Martha sets a plate of scrambled eggs and crisp bacon down on the dining room table as Clark hurries past in single-minded purpose for the front door.

MARTHA

Where are you going, Clark?

CLARK

I'm running late, Ma.

MARTHA

(bemused) You surely have time enough to sit down and —

In a blink of an eye, Clark is gone — along with the bacon and eggs which had moments before been resting upon the now-cleared plate.

MARTHA

(cont'd) eat your breakfast. (sighs)

EXT. MAIN ROAD — DAY

A motorcyclist rides along the main road into Smallville. As a railway crossing appears ahead, he notices a locomotive bearing down on it, and so decides to put the pedal to the metal to beat it. As the motorcyclist zooms ahead, leaning into the artificial wind, Clark comes up alongside him. Noticing Clark out of the corner of his eye, he does a double take. Though Clark is only riding his mere bicycle, by pedalling at super speed, he's able to keep pace with the motorcyclist.

As the two riders close in upon the crossing, Clark puts on an extra bit of speed; like a shot from a gun, he leaves the motorcyclist eating his dust, clearing the track in an instant. By the time the locomotive comes barrelling down the track, forcing the motorcyclist to hit his breaks and wait out the train's passing, Clark's already one-eighth of a mile into the distance.

INT. KENT HOME/CLARK'S BEDROOM — DAY

We have jumped forward to 1926. Clark is seated at his desk, doing homework, when Jonathan appears in the door.

JONATHAN

Clark.

CLARK

(faces Jonathan) Hey, Pa. What is it?

JONATHAN

I was hoping you'd take some time out of your schedule to help your fool pop find his glasses again.

CLARK

Not a problem. (looks down & squints)

CLARK'S P.O.V. — LIVING ROOM

The carpeted floor disappears beneath Clark, affording him a view of the floors on the storey underfoot. Zooming in, he focuses in on the living room couch. The couch cushions themselves grow transparent, revealing Jonathan's glasses wedged between them.

INT. KENT HOME/CLARK'S BEDROOM — DAY

CLARK

They're inside the couch.

JONATHAN

Glasses are more trouble than they're worth, son. Count your blessings you'll never have to wear the damned things.

EXT. FOREST — DAY

We have jumped forward to 1927. Clark is running through the woods, blue-merled Shelby — his four-month-old puppy — tagging along beside him. As they emerge through the trees, they come to the edge of a large, deep ravine. Though Shelby stops in her tracks, Clark takes a running leap clear across the ravine.

CLARK

Yahoo!

Landing on the other side, Clark turns to Shelby. The puppy begins barking, despondent that she can't follow her master.

FADE OUT

END CREDITS


	2. Episode 1-2: Stranger in a Strange Land

FADE IN

On Jonathan Kent out in one of his fields, at work removing a large boulder embedded in the ground.

SUPERIMPOSE: SEPTEMBER 1931

Working with a long pry bar, he struggles to uproot the stubborn boulder. Though a virile man still, Jonathan is beginning to show the signs of age; his blond hair is starting to fade to a pale gray and he now wears his glasses on a permanent basis.

As Jonathan sweats and strains against the boulder, Clark walks up to him, his red-haired dog Rusty — son of Shelby — running circles about his heels. Seventeen years old, Clark has grown into a strapping young man — tall, broad-shouldered, and rustically handsome.

CLARK

Pa?

JONATHAN

(busy) Hrm?

CLARK

Can I help?

Struggling with the pry bar for a few more seconds, Jonathan finally gives the futile effort up. Taking off the hat he's wearing, he wipes his moist brow, sighing with exasperation.

JONATHAN

(steps back) You're gonna need something for leverage, son.

Stepping up to the boulder, Clark reaches under and uproots it, holding it aloft with one hand effortlessly. This is a Clark who wouldn't struggle lifting the rear of the Model T now.

CLARK

Where do you want it?

JONATHAN

(smiles) Let's take it to the barn, around back.

Leaving the field, they take the boulder behind the barn, where Clark gently sets it down on the ground. With a few short whacks, he splits the boulder up into smaller chunks to be hauled away later.

CLARK

Is it alright if I head off to the park? I was hoping to meet the gang there.

JONATHAN

All your chores done?

CLARK

Uh-huh.

JONATHAN

Then what do you need my permission for? (claps Clark on back) School starts tomorrow. Make the most of these precious few hours.

CLARK

(grins) Thanks, Pa.

JONATHAN

Just don't be late getting back for supper.

CLARK

Am I ever?

Before Jonathan can reply, Clark is gone in a flash. Shaking his head, Jonathan takes his hat and slaps a boulder chunk with it, smiling.

FADE OUT

BEGIN OPENING CREDITS

END OPENING CREDITS

FADE IN

On the park.

It is a sunny, late Labor Day afternoon. Though most visitors have retired home for the coming evening, several people are still present, playing games, flying kites, talking, reading, or just sitting and milling about.

Dropping out of super speed, Clark arrives on the park outskirts, well out of view of anyone. Checking his clothes over to make certain they are neat and clean, he proceeds onward, walking at a leisurely pace. He soon spots Lana and Pete. Like Clark, they, too, have matured into young adults. Pete is tall, almost as tall as Clark, just as handsome, but lanky in build. Lana, shorter than the two boys but still tall for a lady, is a beauty with large, thick-lashed eyes, full cheeks, and full, pink lips, a large congregation of freckles covering her exposed skin only adding to her natural beauty. Sharing a bench, the pair are deep in conversation, too busy to notice Clark.

CLARK

(waves) Lana! Pete!

Noticing Clark, they rise from the bench. Clark joins them.

PETE

(claps Clark on arm) Glad to see you made it out today, fella.

CLARK

Summer break's almost over. Like my pa said, "Make the most of these precious few hours." (beat) Brought the pigskin?

LANA

(brings out football) bien sûr.

Heading out to a clear area on the grass, the three begin playing catch.

PETE

(tosses ball to Lana) Returning to the Torch again this year, Lana?

LANA

(catches ball) Returning to this question again this year, Pete?

Lana tosses the ball to Clark, who tosses it back to Pete.

PETE

(catches ball) Well, yeah. This is senior year. (tosses ball to Lana)

LANA

(catches ball) So? (tosses ball to Pete)

PETE

(catches ball) You've been editor-in-chief of the school paper three years straight. Don't you wanna give something fun a run your final year? (tosses ball to Clark)

CLARK

(catches ball) Working on the Torch is plenty fun, Pete. (tosses ball to Lana)

PETE

You think milking cows is fun, Kent.

LANA

You'd rather I try out for cheerleading? (tosses ball to Pete)

PETE

(catches ball) Getting dolled up in a cute number? Hoofing it for the boys on the field? Flashing those grand gams of yours? A mite niftier than sitting on your keister in a cramped, fusty office getting an edge off mimeograph fumes, I can tell you. (tosses ball to Clark)

LANA

Sorry, Pete. Tried that freshman year; didn't take to it. (intercepts ball) Go long.

Jogging out, Clark spreads his arms high. Lana sends the football sailing through the air; Clark just barely misses it. He goes to retrieve the ball.

LANA

(to Pete) Though if you want to admire my grand gams, you need only ask.

As Clark returns with the ball, Lana hikes the hem of her skirt up to her thigh, affording both boys a lingering look at one long, shapely, creamy leg.

CLARK

(drops football) Hot damn!

Flashing a sexy grin, Lana drops her skirt back in place.

A couple hours later.

With the sun beginning to set, the three call it a day. Giving their farewells, they part to return home.

EXT. KENT FARM — BARN — SUNSET

Returning from the park, Clark crosses past the barn on his way to the house.

KENNY

(O.C.) Hey, Clark! Clark, up here!

Stopping, Clark turns and looks up to the barn. He can just make out Kenny standing in the loft's open door.

INT. BARN/LOFT — SUNSET

Clark climbs the ladder to the loft, where he finds Kenny sitting in a wooden chair by the loft door, casually sipping from a bottle of root beer as he looks out, seemingly a million miles away. As tall as Pete but even leaner, he'd look handsome if he wasn't so painfully thin.

Turning to Clark, the black teenager hoists up a small carrying case of root beer.

KENNY

Have one.

Clark silently takes one of the bottles. Placing his thumbnail under the rim of the metal cap, he pops it off with one flick of his thumb.

KENNY

I still haven't learned how you do that.

CLARK

Trade secret.

KENNY

You out with Pete and Lana?

CLARK

At the park, yeah.

KENNY

(looks out loft door) Those were the days, weren't they? Just us four, running wild all summer-long, day and night. (beat) Your folks always understood. My dad never did.

Clark takes a seat in a second chair beside Kenny.

CLARK

(takes sip) How's your pa? Doing any better?

KENNY

Worse. A lot worse. (takes sip) I won't be coming back this year, Clark.

CLARK

(frowns) What do you mean, won't be coming back?

KENNY

I'll be needed at the gas station full-time now. I won't have time for school anymore.

CLARK

Ken, this is our senior year. Graduation's this spring.

KENNY

And I know you'll make it — with flying colours. (finishes bottle) Keep the rest. It's yours.

Morose, Kenny rises and crosses over to the ladder.

EXT. BRAVERMAN HOME/FRONT YARD — TWILIGHT

Kenny arrives home. The Braverman home is a cottage in shabby, weather-beaten, but otherwise alright condition.

INT. BRAVERMAN HOME/LIVING ROOM — TWILIGHT

Within the confines of the cottage living room we finding AL BRAVERMAN sitting in a threadbare armchair, a bottle of moonshine cradled in his lap, listening to the Carter Family's "I'm Thinking Tonight of My Blue Eyes" as it plays tinily from the radio in the room. Eyelids droopy, lower lip hanging low, nose misshapen, chin unshaven, and frame and features positively skeletal, he is a homely man. His bleary eyes are quite yellow, but that could be due to the dirty lighting afforded by the living room's sole fly-specked light bulb.

As Kenny enters the cottage, he reluctantly steps into the living room doorway and stands there, watching his father for a sign of acknowledgement. Taking a long sip from his bottle, Al takes a gander at his son. Spitting a stream of saliva through the gap in his bottom front teeth, he returns to watching nothing.

INT. BRAVERMAN HOME/KITCHEN — TWILIGHT

Entering the kitchen, Kenny begins preparing supper. As he is retrieving the cookware, he halts, rests fingers against his mouth, then steps back out of the kitchen.

INT. BRAVERMAN HOME/LIVING ROOM — TWILIGHT

Kenny has returned to the doorway. Al has slipped into a doze. The bottle, held limply now in his hands, begins to tilt precariously forward, threatening to spill its contents. Kenny strides up to the armchair and stills the bottle. This action is enough to jolt Al out of his light slumber. Thinking his son is trying to steal his bottle, the ugliness of Al's face deepens with a scowl as he slaps Kenny hard against the face. Kenny rears back. Al stares hard at Kenny for several long seconds, then falls back into unconsciousness.

INT. BRAVERMAN HOME/KENNY'S BEDROOM — TWILIGHT

Kenny enters his bedroom. Unlike the rest of the home, this room is kept clean and relatively tidy, though there are books everywhere, hardcover and paperback, fiction and nonfiction. Closing his door behind him, he strides up to his desk. Opening the top drawer, he reveals the revolver nestled inside.

Withdrawing the revolver, he pulls back the hammer, aiming it at the bedroom door, in the direction of his father. As Kenny keeps the barrel of the gun trained in that direction, his face twists with deep-seated loathing, his hand and arm beginning to violently shake with suppressed rage.

INT. KENT HOME/CLARK'S BEDROOM — MORNING

Clark, wide awake, clad only in pajama bottoms, sits atop his bed, reading a paperback novel.

MARTHA

(O.S.) Clark Kent, you're about to miss the bus!

Hearing his mother's voice, Clark sets down his book and rises. Sauntering over to his bedroom window, he opens it and leans out. Allowing the cool morning air and warm morning sun to play across his bare skin, he closes his eyes, relishing the sensation.

EXT. ROAD — MORNING

Clark — groomed, in fresh clothes, notebooks in hand — comes to the top of the driveway just in time to see the school bus pulling away. He frowns, bemused.

INT. SCHOOL BUS — MORNING

Inside the bus, near the back, Pete and another boy share a seat. Looking behind them, they watch Clark's diminutive shape recede in the distance.

PETE'S FRIEND

(hands Pete 25¢) I can't believe you bet against your best friend.

EXT. ROAD — MORNING

Clark stands there, watching the bus shrink into the horizon. With his super hearing, he listens in on the two boys' conversation.

PETE

(O.S.) It's a statistical fact: If Clark moved any slower, he'd be extinct.

Once the bus has disappeared from sight, Clark's bemusement fades, replaced with a wry smile. Breaking into a run, the world slows to a crawl as he attains top speed. In seconds, Clark overtakes the school bus. Twisting around, running backward, he waves to the motionless vehicle and its oblivious passengers. Turning back 'round, he leaves the bus far behind him, eating his dust.

EXT. SMALLVILLE HIGH/ENTRANCE — MORNING

Clark is loitering by the school entrance, propped against a stone wall, arms crossed in front of him, when the school bus finally pulls up by the curb. Exiting the bus, Pete and his friend come to the entrance, where they find Clark in-wait.

PETE

(dumbstruck) How'd you get here so fast?

CLARK

(smirks) I ran.

Uncrossing his arms, Clark heads inside.

INT. SMALLVILLE HIGH/TORCH OFFICE — DAY

Opening the door, Clark enters the office of the Smallville Torch. Equipped with a pair of desks with a typewriter each, three file cabinets, and a table at the back complete with hand-cranked mimeograph machine, it is windowless, with bare brick walls — quite small, hell in less temperate seasons, but adequate for the needs of a small student newspaper. Lana, present at her desk, is busy at her typewriter, typing an article for the Torch's upcoming back-to-school issue. Setting his notebooks atop the other desk, Clark comes up behind Lana, leaning over her shoulder to peer at what she's typed.

CLARK

"Effluvious" has two "F"s.

Pursing her lips, Lana goes for her bottle of correction fluid, but Clark beats her to the quick. Uncapping the bottle, he applies the black fluid to the mimeograph stencil, covering up "efluvious". Once it has dried, Lana retypes the word with the extra "F".

Still leaning over her shoulder, Clark looks to Lana, and she to him. Her eyes, hazel, meet his, azure. In that moment, nothing exists for them beyond each other. And then the spell is broken. Straightening, Clark steps back, putting a hand behind his head. Confused, hesitant, Lana turns back to her typewriter. Retiring to his own desk, Clark begins consulting a notebook.

LANA

(faces Clark) Clark?

CLARK

(looks up) Lana?

LANA

(cont'd) Aunt Hel's back in Smallville.

CLARK

Is she?

LANA

(nods) For keeps. (beat) Her property's in need of sprucing up. She's looking for a part-time hand. (beat) You always seem to have time on your hands.

CLARK

I'll ask my folks tonight.

Lanas smiles tightly, then returns to her article.

INT. KENT HOME/DINING ROOM — NIGHT

Clark is with his parents at the dining room table. They are enjoying a dinner of shepherd's pie with bean salad.

CLARK

Helen Winters' back in town.

MARTHA

Helen's back? (faces Jonathan) It's been ten, eleven years since we saw her last?

JONATHAN

(distant) About that.

MARTHA

We should pay the old girl a visit.

JONATHAN

(non-committal) Um-hmm.

CLARK

She's looking for part-time help. I figured ...

This gets Jonathan's attention.

JONATHAN

You have school work, and chores.

CLARK

Duck soup, pa. (beat) We could use the cash.

MARTHA

It shouldn't be a problem, Jonathan.

CLARK

It shouldn't, should it, pa?

JONATHAN

(frowns) It shouldn't. (beat) No, no, it won't.

EXT. HELEN'S HOME/FRONT YARD — DAY

Dropping out of super speed, Clark arrives at Helen's home. A two-storey house in fine structural condition, it nevertheless needs new shingles, a fresh coat of paint, and the surrounding yards weeding and mowing.

Climbing the porch steps, Clark knocks at the front door. In moments Helen opens the door. Though her hair has gone salt-&-pepper and her face lined with age, she's still quite the handsome woman.

HELEN

Hello?

CLARK

Clark Kent, ma'am.

HELEN

(astonished) Clark Kent‽

CLARK

I go to school with your niece. She told me you were in need of a hand?

HELEN

Come right in.

INT. HELEN'S HOME/ENTRANCE HALL — DAY

Stepping aside, Helen allows Clark inside. Closing the door after him, she examines him head-to-foot then foot-to-head with her eyes.

HELEN

Clark Kent. You were seven years old the last I saw of you. (beat) You've surely grown.

CLARK

That I have, ma'am.

HELEN

(rests hand on Clark's shoulder) Will you walk into my parlour?

INT. HELEN'S HOME/PARLOUR — DAY

Helen and Clark enter the parlour. Guiding him to a small table surrounded by two padded side chairs, she sits him down in one.

HELEN

Would you care for something to drink, Clark? Iced tea?

CLARK

(nods) Thank you, yes.

Helen leaves. Shortly she returns, carrying a metal platter laden with two tall glasses and a full pitcher of iced tea. Setting the platter down on the table, she fills both glasses, then takes the chair opposite Clark. Hiking the hem of her brown paisley dress up, Helen crosses her legs, affording Clark an unobstructed view of them. Shapely gams clearly run in Lana's family.

HELEN

What would you say needs doing?

CLARK

(distracted) Excuse me?

HELEN

Around the house?

CLARK

(looks about room) Your home looks quite nice inside. There's no sign of termites or dry rot.

HELEN

(smiles) You've quite the peepers, haven't you, Clark?

CLARK

(antsy) Just my cursory examination, missus. (sips iced tea) The roof needs attending to, and the yard, certainly.

HELEN

(nods) How does 10¢ an hour sound to you?

CLARK

It sounds quite fair to me, Mrs. Winters.

HELEN

Miss Potter. But call me Hel.

CLARK

Hel it is.

Smiling, Helen fishes an ice cube out of her glass. Raising it to her mouth, she sucks at it. Clark doesn't fail noticing the fullness of her lips.

EXT. FOREST — SUNSET

SUPERIMPOSE: ELK MOUNTAINS, COLORADO

A large fireball comes streaking down from the sky above. Passing over the lush, verdant wilderness, the spaceborne object splashes down in a distant lake.

EXT. LAKEBED — STARCRAFT — SUNSET

At the bottom of the murky lake, mired in the dark mud, is a familiar starcraft, the telltale signs of meteoroid impacts marring its otherwise pristine chrome exterior.

INT. STARCRAFT/COCKPIT — SUNSET

We find Luma in her seat, suit and helmet sealed and unbreached, unmoving.

INT. SPACESUIT

Within the helmet's confines, we see Luma's face. Eyes closed, expression placid, the Kryptonian girl's features are unaged and uncorrupted; she looks exactly as she did the day she set upon her 42-year migration.

Around Luma's neck, the S-pendant begins resonating a white glow.

INT. KENT HOME/KITCHEN — SUNSET

Clark is with Martha, helping her with the dishes. As she washes and rinses them, he dries them and puts them away.

Quite suddenly, Clark stiffens. A strange expression comes over his face.

MARTHA

(frowns) Clark?

CLARK

Someone just walked over my grave.

He resumes drying the dishes, still uneasy.

EXT. HELEN'S HOME/ROOF — DAY

Clark is up on Helen's roof, replacing worn and missing shingles. Though he could do the job solely by hand if he so chose, he works with a hammer to disguise his particular talents.

Clark stops hammering. The sensation he experienced the night before is still with him — something in the atmosphere tugging at the peripheral of his senses.

INT. HELEN'S HOME/ENTRANCE HALL — DAY

Hearing a knock at her door, Helen answers it. Clark stands in the threshold, quite perturbed.

HELEN

Problem, Clark?

CLARK

I don't feel well.

HELEN

It's quite warm out. I'm not surprised. (touches his arm) I'll fetch you some water.

Nodding his thanks, Clark enters.

INT. HELEN'S HOME/PARLOUR — DAY

Clark is seated in a chair when Helen comes in with a glass of water in hand; she hands it to him.

CLARK

(accepts glass) Thank you.

Clark swallows the water greedily, but it does nothing to dispel his anxiety. Stepping behind Clark, Helen rests her hands on his shoulders.

HELEN

May I?

Clark acquiesces. Helen begins massaging his shoulders and neck.

HELEN

How does that feel? Helps?

CLARK

(closes eyes) Hmmm.

Helen continues the massage. There is the trace of a smile on her lips.

HELEN

Clark?

CLARK

Yes?

HELEN

You needn't knock, if you want inside. My door is open to you (into his ear) any time.

Opening his eyes, he abruptly rises.

CLARK

I believe I'll call it a day.

HELEN

Are you alright to drive? Would you like a ride?

CLARK

I can manage. Thank you for the water and ... attention, Hel.

Giving him a brief, thin smile, Helen allows Clark to go.

INT. KENT HOME/DINING ROOM — SUNSET

Clark is with his parents at the dining room table. While they enjoy a dinner of roast chicken and sweet potatoes, he just stares at the plate, disinterested.

JONATHAN

You're not eating.

CLARK

I don't have an appetite.

JONATHAN

(smirks) You rarely do. Hasn't stopped you before.

CLARK

I'm sorry. May I be excused?

His parents excuse him. Clark leaves the table.

MARTHA

(concerned) That isn't like him at all.

Jonathan shrugs, resumes eating.

INT. KENT HOME/CLARK'S BEDROOM — NIGHT

Clark sits by his open window. Bristling with tension, even the cool evening breeze fails to soothe his nerves.

Turning his head, he looks up, toward the ceiling. Narrowing his eyes, he rises and leaves the window.

INT. KENT HOME/JONATHAN & MARTHA'S BEDROOM — NIGHT

Jonathan and Martha lie beneath their covers, quite asleep. As audible shuffling comes through the ceiling above, they are roused from their slumber.

INT. KENT HOME/ATTIC — NIGHT

At the back of the attic, Clark kneels, riffling through the contents of a large trunk. At the bottom, he finds a small oak box. Lifting it out, he examines it; locked. Using his strength, he forces it open, revealing an S-pendant nestled against the black velvet lining. An exact twin of the one worn by Luma, it, too, glows a bright white. Taking the radiant pendant from the box, Clark holds it to his breast. Relief surges through him.

Hearing a creak behind him, Clark looks over his shoulder; his parents stand there. Spying the glowing pendant in their son's hand, husband and wife exchange glances. A long moment of uneasy silence passes between the three of them.

JONATHAN

Son ... it's finally time to show you something.

INT. TRUCK/CAB — NIGHT

Jonathan is behind the Model T's wheel, driving through one of their fields. Clark sits beside him.

CLARK

Where are we going, Pa?

JONATHAN

We're going back in time, son.

EXT. KENT FARM — FIELD — NIGHT

Jonathan soon brings the truck to a halt. The headlights of the Model T fall upon a barbed wire fence ahead. Emerging from the vehicle, father and son slip under the wire and into the disused field yonder, Jonathan leading with flashlight in hand.

JONATHAN

It's been eighteen years since your ma and me last came to this field. I've let it lay fallow ever since.

CLARK

This ... this is the field you told me never to play in, when I was a little kid.

JONATHAN

That's right. And I posted "NO TRESPASSING" signs all 'round, and put up the nastiest barbed wire fence I could find ...

Playing the flashlight beam across the ground, Jonathan reveals a large wood panel set flush into the earth.

JONATHAN

(cont'd) all to hide this. (beat) Lift it away, son.

Reaching under the heavy panel, Clark effortlessly uproots it. Setting the panel aside, he discovers the secret concealed beneath — the pit with the chrome-&-crystal starcraft nestled in its depths.

CLARK

(astonished) Oh my God. P-pa...? (faces Jonathan) What is it?

JONATHAN

This is how you came into our world, son — the day the grandfather of all blizzards slammed down on Smallville. (beat) It's where your ma and me found you.

CLARK

(flabbergasted) "Found me"‽ You mean ... I'm adopted‽

JONATHAN

Something like that. (beat) Yes, "adopted" is as good a word as any.

Clark takes a step back, overwhelmed.

CLARK

T-this is a joke, right?

JONATHAN

We should have told you earlier. Should have told you years ago.

CLARK

(irate) Why didn't you tell me?

JONATHAN

We wanted to protect you.

CLARK

(angry) Protect me from what‽ You should have told me!

His world turned upside down, Clark doesn't know what to do, so he does the only thing he can think to do; he leaves.

JONATHAN

Clark! Clark!

But his son is already long gone.

EXT. LANG HOME/BACKYARD — NIGHT

Having gathered pebbles, Clark chucks them at Lana's window, hoping to draw her attention. After several attempts, Lana fails to show.

EXT. LANG HOME/FRONT YARD — NIGHT

Coming around to the front door, Clark knocks. Lana's mother eventually answers.

SARAH LANG

(bemused) Clark‽

CLARK

May I see Lana?

SARAH LANG

Have you any idea what the time is‽ (looks to watch; isn't wearing one)

CLARK

Please, Mrs. Lang. It's important I see her.

SARAH LANG

(shakes head) Lana isn't here. She's sleeping over at Chloe's. (beat) Sakes alive, Clark. Visit during godly hours!

At that, Mrs. Lang closes the door in Clark's face. Crestfallen, Clark turns away. As he leaves the Lang property, he looks to the sky. The thick cloud cover which had blotted out the moon has broken, allowing strong moonlight to filter through the tears. Following the rays to Earth, Clark spies in the distance the house of Helen Potter.

INT. HELEN'S HOME/BEDROOM — NIGHT

The windows in Helen's bedroom have been opened wide, allowing bright moonlight inside. It cascades over the bed, over the woman whose curves are only tenuously hidden beneath a thin sheet. A cool breeze seeps in through the windows, rustling the parted curtains and Helen's sheet. Hearing the sound or feeling the sensation, Helen is drawn from her slumber. Turning over, looking up, she finds Clark standing there at the foot of her bed, ghostly in the moonlight.

Sitting up, Helen pushes the sheet away, exposing the full length of her supple porcelain body, then crosses her arms above her head to afford Clark a strong look at her ample bosom. Leaving the foot of the bed, Clark sits down on the mattress with her. He then examines her, head-to-foot then foot-to-head, with his eyes. Anxious, inexperienced, he doesn't know how to proceed. Reaching for him, Helen removes his suspenders. Once they are out of the way, she unbuttons his flannel shirt. Pushing it open, she exposes the wiry muscle of his hairless chest and abs. Cupping his pecs, she feels the taut sinews in her palms and under her fingers — experiences them. Then snaking her fingers through his hair, she guides his lips to the nape of her neck.

EXT. KENT FARM — KENT HOME/FRONT PORCH — DAWN

Jonathan and Martha sit in the porch swing. Jonathan holds Martha, who fell asleep some time ago.

JONATHAN

Martha….

Hearing her name, Martha is roused from sleep.

MARTHA

(inquisitive) Clark?

Following Jonathan's gaze, Martha finds Clark coming down the driveway, on his way towards them.

As Clark climbs the porch steps, Martha and Jonathan rise from the swing. Clark stands there, facing his surrogate parents.

MARTHA

Clark, honey ... don't hate us for keeping this secret from you all these years.

CLARK

I don't hate you, Ma. I could never think badly of you or Pa.

Opening his arms, Clark goes to them. Opening their arms, Martha and Jonathan go to him. They embrace, holding to each other fast, family to the very end.

INT. KENT HOME/DINING ROOM — MORNING

Clark, Jonathan, and Martha sit at the dining room table. In his two hands, Clark holds the S-pendant.

JONATHAN

We think it's from your parents — your real parents.

Clark runs a thumb over the engraved, glowing sigil.

JONATHAN

(cont'd) I tried for years to trace its origins, but it's not any symbol known to Man.

CLARK

What are you trying to tell me, Pa? That I'm a Martian?

JONATHAN

I don't know, Clark. Maybe we just weren't meant to know. Maybe we'll never know.

Opening the clasp, Clark fastens the pendant around his neck.

INT. KENT HOME/CLARK'S BEDROOM — DAY

Clark sits behind his desk. Pencil in hand, he writes on a notepad.

CLARK

(V.O.) The pendant drew me to itself; it's now drawing me elsewhere. I don't know where I'm being drawn or to what purpose; I only know it's a call I must answer. (beat) I can't say when I'll be back, but I will be back. That's a promise.

INT. KENT HOME/ENTRANCE HALL — DAY

Keys to the Model T in hand, Clark walks out the door.

INT. TRUCK/CAB — DAY

Behind the wheel, Clark pulls away from the house.

INT. KENT HOME/DINING ROOM — DAY

Mug of coffee in hand, Martha enters. As she approaches the table, she spies Clark's notepad atop it. Setting her cup down, she picks up the pad, reading Clark's note.

Frenetic, Martha bolts from the room to find Jonathan.

EXT. KANSAS TO COLORADO — MONTAGE

Clark makes the trip from Smallville, Kansas to the Elk Mountains, Colorado — by highway and backroad — guided by the silent siren song which beckons him.

EXT. FOREST — LAKE — NIGHT

Clark now continues on foot, hiking through the dark woods. He soon arrives at the lakeshore. Stripping down to his underwear, he dives headlong into the dark waters.

EXT. LAKEBED — STARCRAFT — NIGHT

Clark appears perfectly comfortable in this aquatic environ; he cuts through the water effortlessly — without kicking his legs or stroking his arms, as if he were gliding through the deep — and the lack of air doesn't appear to hamper him any. As he draws near the starcraft, this changes; his limbs go awkward, his stomach cramps up, and his lungs start screaming for oxygen.

Fighting to adjust to the current and keep himself from inhaling water, Clark kicks his legs hard, stroking briskly, until he finds himself positioned over the sealed canopy. Finding no wheel or similar apparatus to open the canopy, he begins punching it; though he doesn't leave so much as a dent in the crystal, the force of the punches are cause enough to open the canopy.

Black water flooding the cockpit, Clark finds himself face-to-faceplate with the sole occupant. Taking Luma by the armpits, he tries lifting her free; much of his great strength absent, he finds the girl's spacesuited bulk quite heavy. Gritting his teeth, he pulls with all the might he has remaining. Finally managing to dislodge the leaden girl from her submerged vessel, sinking to the mud, he crouches down then launches himself towards the surface, Luma held close to him.

EXT. LAKE — NIGHT

Clark breaks the surface. Gasping, he begins swimming for shore.

EXT. FOREST — LAKE — NIGHT

Clark comes ashore, soaking wet, Luma's limp form dead weight in his arms. Depositing her on the grass, he collapses to his knees, shivering, then vomits. Once the nausea has subsided, he looks at his hands; they are bruised.

Turning to the person in the spacesuit, he unseals and removes her chrome helmet, tossing it aside. Eyes closed, expression placid, the face of the most beautiful woman Clark has ever laid eyes on is unveiled.

EXT. TRUCK — NIGHT

Clark deposits Luma's dismantled chrome spacesuit in the back of the truck then secures a canvas tarpaulin over the pieces, hiding them from sight.

INT. TRUCK/CAB — NIGHT

Clark gets behind the wheel. Starting the ignition, he turns to his passenger. Now wearing Clark's red flannel coat over her skintight bodysuit, she is finally coming to. Eyes cracking open, Luma faces him, still weak, and utters something in Kryptonian. He peers into her eyes, the same azure as his own, unable to understand her words but gleaning their meaning all the same.

CLARK

A friend.

Swooning, Luma slips back into unconsciousness.

INT. KENT HOME/LIVING ROOM — DAY

The Kents sit by their radio. The radio is on but they aren't listening. Worry for their son is etched on their faces.

There are loud knocks at the door.

MARTHA

Clark!

They bolt from their chairs.

INT. KENT HOME/ENTRANCE HALL — DAY

Answering the door, they find Clark and Luma on the other side. Luma, semi-conscious on her feet, is braced against Clark's body, her arm slung across his back.

INT. KENT HOME/GUEST BEDROOM — DAY

Lying in bed, her bodysuit removed, Luma has regained full consciousness. Martha ministers to the blonde, cleaning her face and shoulders with a warm, wet washcloth.

LUMA

(weak) Ta-khukp nim….

MARTHA

I imagine you have a hundred questions on your mind. We certainly have that many. (sighs) I reckon the answers'll remain long in coming for us all.

Finished with the washcloth, Martha takes up a towel and gently pats the girl dry. Once that is done, she collects the black bodysuit and goes to leave. Luma takes her wrist. Martha looks back to her. Luma gives her a nod and smile of thanks. Martha returns the smile, then is gone.

INT. KENT HOME/HALLWAY OUTSIDE GUEST BEDROOM — DAY

Clark and Jonathan are waiting outside when Martha emerges.

CLARK

Can I see her?

MARTHA

She needs rest.

CLARK

I just want to talk with her awhile.

MARTHA

Awhile.

Martha allows Clark into the room, then closes the door after him.

INT. KENT HOME/GUEST BEDROOM — DAY

Clark approaches Luma. She watches him as he takes a seat in the chair beside the bed.

CLARK

Ma says you'll be sitting pretty soon enough.

LUMA

(mimicking) "Sitting pretty."

CLARK

It means to be in a favourable position.

She accepts this explanation with silent obliviousness.

CLARK

We haven't been formally introduced. (gestures to himself) Name's Clark. Clark. (gestures to her) Yours?

LUMA

Luma-Lyn. Luma.

INT. KENT HOME/GUEST BEDROOM — DAY

It is a new day. Luma stands nude before a full-length mirror, examining herself.

There are two knocks at the door.

MARTHA

(O.S.) It's Martha.

After some seconds, Martha opens the door. She finds the young woman standing there, not at all ashamed to be caught in the buff.

MARTHA

(eyes Luma's lean musculature) You certainly weren't raised in the Bible Belt. (beat) Let's get you decent.

Martha picks up the periwinkle dress she left in the chair by Luma's bed. She helps Luma slip the garment on over her head, then ties the sash snug around her waist. Luma touches the fabric, feeling the unfamiliar material, then looks at herself in the dress in the mirror.

LUMA

(faces Martha; grins) Gehd dhoia nahn!

MARTHA

(smiles) It is lovely on you.

INT. KENT HOME/ENTRANCE HALL — DAY

Clark is about to start up the stairs, Luma's breakfast in hand, when he sees Martha and the girl climbing down. Upon sighting the statuesque blonde in her elegant dress, Clark's mouth falls agape.

MARTHA

(half-smiles) You'll catch flies.

The two women reach the bottom of the steps. Clark and Luma make eye contact.

CLARK

(distracted; frowns) Uh ... is she...?

MARTHA

Much improved.

INT. KENT HOME/DINING ROOM — DAY

The Kents and Luma sit around the dining table. Knife and fork in hand, she looks upon the plate before her; two fried eggs, three strips of bacon, and a side of home fries look back at her. As her apprehension would suggest, she is unfamiliar with such cuisine.

Spearing an egg on her fork, she raises it to her eye; yellow yoke oozes from the pierced egg. Repulsed, Luma looks to her hosts. Seeing them partake of the food casually, their own eyes upon her, she stuffs the egg in her mouth whole. Biting through the rubbery white meat, she suppresses the urge to gag as yoke gushes across her tongue. Then the flavour hits her palate. Three seconds later, the remaining egg, bacon, and home fries are gone.

JONATHAN

(to Clark) You don't eat that fast.

Luma burps loudly. Martha scowls deeply. Luma blushes, embarrassed.

INT. KENT HOME/LUMA'S BEDROOM — DAY

A week has passed. Clark sits with Luma on her bed. With the aid of picture and storybooks, he is helping her learn English.

EXT. KENT FARM — KENT HOME/FRONT PORCH — DAY

Lana comes down the driveway on her bicycle. Pulling up to the front, she climbs off. Propping the bike up, shouldering a leather bag, she climbs the porch steps and knocks at the door. Jonathan answers.

JONATHAN

(smiles) Hello, Lana.

LANA

Hello, Mr. Kent. May I see Clark, or is he indisposed?

JONATHAN

Be right back with him.

Jonathan closes the door. Lana whistles while she waits.

INT. KENT HOME/LUMA'S BEDROOM — DAY

Jonathan peeks inside.

JONATHAN

Lana's here for you.

Clark rises from the bed.

CLARK

(to Luma) I won't be a moment.

EXT. KENT FARM — KENT HOME/FRONT PORCH — DAY

The door opens. Stepping out onto the porch, Clark closes the door after him.

CLARK

Lana, hi.

LANA

You've been out of school all week; Hel's been asking after you. Is everything alright?

CLARK

I've been down with the flu, but I'm feeling much better. I should be back in class Monday or Tuesday.

Touching Clark's face, Lana begins feeling around his ears and jaw.

CLARK

What're you doing?

LANA

Feeling for the edges of a mask.

CLARK

(brushes hand off; laughs) Cut it out.

LANA

(reaches into bag; pulls out paperwork) Here's your homework.

CLARK

(takes papers) Thanks. (beat) Tell your aunt I'll be in to see her tomorrow.

LANA

Will do. Hope to see you Monday.

CLARK

(smiles) Bye.

Returning his smile, Lana returns to her bike. She takes off, pedalling up the driveway as Clark heads back inside.

INT. KENT HOME/LUMA'S BEDROOM — DAY

Clark returns to find Shelby and Rusty in the room. Shelby sits at Luma's feet, wagging her fuzzy tail, while Rusty stands atop the bed, slurping Luma's face. Luma, taking the dog's slimy kisses in stride, returns his affectionate gesture with vigorous rubs and scratches along his neck and floppy ears.

CLARK

(bemused) Rusty, Shelby, out! Get out!

Obeying their master, the two dogs bolt from the room, scattering books in their wake. Sighing, Clark picks the books up from the floor at super speed.

LUMA

Who girl was at door?

CLARK

My friend Lana, from school.

LUMA

What "school" is?

INT. KENT HOME/KITCHEN — DAY

It is the next day. Martha is busy washing dishes when Jonathan strides in. He spies a baking sheet of fresh cookies cooling on the countertop.

JONATHAN

Cookies, eh?

As Jonathan goes to take one, Martha flings suds in his face to ward him off.

MARTHA

I'll have you know I baked those cookies for Helen Potter. Clark will be taking them to her today.

JONATHAN

(disheartened) Ah. For Helen.

Crossing to the icebox, Jonathan fetches a pitcher of milk; lifting the spout to his mouth, he drinks directly from it.

MARTHA

(points at him) The source of all Clark's poor eating habits.

JONATHAN

(places milk back in icebox) How much more time is our son going to spend with that woman?

MARTHA

A couple more weeks. He can't very well rush the job, can he?

JONATHAN

(crosses arms over chest) I don't like the idea of him spending any length of time with her.

MARTHA

(frowns) Jonathan Kent, whyever not?

JONATHAN

Don't pretend you're in the dark. She was Mrs. Dean Winters up until she returned to this town.

MARTHA

Whatever her failings, it's no place of ours to judge.

JONATHAN

I don't like her, Martha. I don't like her and I most certainly don't trust her — not where our boy's concerned.

MARTHA

Our boy is a man, and a smart man at that. (beat) Believe Clark will make the right choices for himself if you can't believe Hel will.

INT. HELEN'S HOME/ENTRANCE HALL — DAY

Hearing a knock at the door, Helen answers it. She finds Clark on the other side; in his hands he holds a small wicker basket with Martha's homemade cookies inside. Clark's eyes wander over the front of Helen's black silk robe, which is barely tied closed.

HELEN

I told you you needn't knock.

CLARK

(shrugs) Sorry, ma'am. Old habits. (holds out cookies) Cookies. My mother baked them.

HELEN

(smiles) Martha. That dear girl.

Accepting the basket, she turns her back to Clark. Clark steps inside. She closes the door after him.

HELEN

My niece told me you were stricken with the flu?

CLARK

I'm much better now.

HELEN

Oh, I hope you are. (beat) Let's step inside the kitchen. I'm just perishing to sample your delectable cookies.

INT. HELEN'S HOME/KITCHEN — DAY

They enter the kitchen.

CLARK

I think I can finish the roof today. I could then start to work on the garage, if you'd like.

Reaching into the basket, Helen fishes out a cookie. Raising it to her teeth, she takes a bite.

HELEN

Mmm ... peanut butter.

CLARK

(smiles slightly) They're my personal favourite.

HELEN

(cocks eyebrow) Would you care to...?

CLARK

(shakes head) Ma baked them specially for you.

HELEN

What's good for the goose is good for the gander.

When he reaches for the basket, she hides it behind her.

HELEN

(wags finger) Ah-ah!

Helen holds out her cookie — the one with the bite taken from it. Tentative, Clark leans forward and takes his own bite. Helen grins, pleased.

HELEN

It's good.

CLARK

(chews & swallows) Quite good.

Helen takes a second bite from the cookie. She doesn't swallow it; she holds it in her teeth, entreating Clark to take it. Leaning forward, Clark places his mouth over hers. They share the morsel.

CLARK

I should start to work now.

Depositing the cookie basket atop the counter, Helen unties and opens her robe. Taking Clark's hand, she guides a finger into her mouth, moistening it.

HELEN

By all means….

INT. SMALLVILLE HIGH/CLASSROOM — DAY

The school bell rings, signalling the end of day's classes. Collecting his papers and books, Clark rises from his desk.

INT. SMALLVILLE HIGH/CORRIDOR — DAY

Students file out into the corridor from several different classrooms. Clark is soon joined by Pete and Lana.

PETE

The gang's all headed for the general store. Care to partake in a soda, Clark?

CLARK

I'll have to take a rain check. Hel's expecting me by.

LANA

(frowns) Clark….

CLARK

Her back door needs attention.

LANA

You've been spending all your free time at Hel's.

CLARK

(frowns) Have not.

LANA

Her place won't burn to the ground the day you decide to take the day off. C'mon, Clark.

CLARK

(shrugs) I'm free tomorrow.

PETE

(claps Clark on back) Tomorrow it is, fella. (to Lana) Let's ankle.

Pete starts on ahead. Lana dallies, staying with Clark a moment longer, unanswered questions lurking behind her hazel eyes. She then quickens her pace to catch up to the lanky blonde, leaving Clark behind.

INT. KENT HOME/LUMA'S BEDROOM — NIGHT

While most everyone else in the household sleeps, Luma remains wide awake. To pass the hours, she reads from the weightiest text the Kents keep around the house: the Bible. Reclining atop her bed, she holds the tome between thumb and forefinger, handling it as if it were no denser than the thinnest paperback.

Luma rises from bed. Absorbed in the text, she absentmindedly crosses the length of the room. Upon coming to the wall, she doesn't stop. Indeed, she continues up it, against the pull of gravity. Striding the length of the wall, she continues onto the ceiling, still reading. Reaching the centre, she stops. Standing on the ceiling, suspended upside down with her hair and clothes inexplicably still in place, she turns a page. Leaving the ceiling, flipping over in mid-air, she floats down as softly as a feather back to the mattress.

INT. KENT HOME/DINING ROOM — DAY

Clark has already departed for school, leaving Jonathan, Martha, and Luma at the table. As Clark's parents finish their coffee, Luma reads through a fashion magazine, taking particular interest in the models' hairstyles.

LUMA

(touches hair) How would you outline my hair?

MARTHA

Outline?

LUMA

Describe.

MARTHA

(envious) Lush ... baby blond….

LUMA

You do not surmise it without poise?

MARTHA

(half-smiles) Two out of three ain't bad.

LUMA

(shows magazine to Martha) Notwithstanding, this hairstyle would not be phenomenal on me?

MARTHA

You want a makeover.

LUMA

(hopeful) It is viable?

MARTHA

You could do worse than a qualified hairdresser ... (looks to Jonathan)

Jonathan shakes his head.

MARTHA

(cont'd) but I'm no fledgling with the scissors. I could see what I can do.

LUMA

Splendiferous, Martha. Thank you. (beat) Jonathan?

MARTHA

Hmm?

LUMA

Your family has alotted me bountifully this month. I would assist in your errands, if you would give license.

JONATHAN

(shrugs) Sure thing.

INT. BARN/STORAGE AREA — DAY

Jonathan and Luma enter. Crossing to a chopping block, Jonathan pulls loose an axe.

JONATHAN

(points to firewood pile) Fetch a piece, Luma, would you?

Crossing to the pile of unchopped firewood, Luma takes up a round and carries it over.

JONATHAN

(cont'd) On the block.

She sets the round down on its side. It rolls off the block.

JONATHAN

(chuckles) Upright.

She sets the round, upright, on the chopping block.

JONATHAN

Stand back.

Luma steps away. Bringing the axe down, Jonathan cleaves the round in twain.

JONATHAN

And that's how it's done. (beat) Another.

They continue the process, Luma gathering wood, Jonathan chopping it.

LUMA

"But I say unto you which hear, Love your enemies, do good to them which hate you, bless them that curse you, and pray for them which despitefully use you. And unto him that smiteth thee on the one cheek offer also the other; and him that taketh away thy cloak forbid not to take thy coat also. Give to every man that asketh of thee; and of him that taketh away thy goods ask them not again. And as ye would that men should do to you, do ye also to them likewise. For if ye love them which love you, what thank have ye? for sinners also love those that love them. And if ye do good to them which do good to you, what thank have ye? for sinners also do even the same. And if ye lend to them of whom ye hope to receive, what thank have ye? for sinners also lend to sinners, to receive as much again. But love ye your enemies, and do good, and lend, hoping for nothing again; and your reward shall be great, and ye shall be the children of the Highest: for he is kind unto the unthankful and to the evil. Be ye therefore merciful, as your Father also is merciful. Judge not, and ye shall not be judged: condemn not, and ye shall not be condemned: forgive, and ye shall be forgiven: give, and it shall be given unto you; good measure, pressed down, and shaken together, and running over, shall men give into your bosom. For with the same measure that ye mete withal it shall be measured to you again."

JONATHAN

Luke 6:27-38.

LUMA

(cont'd) "And the Lord spake unto Moses, saying, 'Avenge the children of Israel of the Midianites: afterward shalt thou be gathered unto thy people.' And Moses spake unto the people, saying, 'Arm some of yourselves unto the war, and let them go against the Midianites, and avenge the Lord of Midian. Of every tribe a thousand, throughout all the tribes of Israel, shall ye send to the war.' So there were delivered out of the thousands of Israel, a thousand of every tribe, twelve thousand armed for war. And Moses sent them to the war, a thousand of every tribe, them and Phinehas the son of Eleazar the priest, to the war, with the holy instruments, and the trumpets to blow in his hand. And they warred against the Midianites, as the Lord commanded Moses; and they slew all the males. And they slew the kings of Midian, beside the rest of them that were slain; namely, Evi, and Rekem, and Zur, and Hur, and Reba, five kings of Midian: Balaam also the son of Beor they slew with the sword. And the children of Israel took all the women of Midian captives, and their little ones, and took the spoil of all their cattle, and all their flocks, and all their goods. And they burnt all their cities wherein they dwelt, and all their goodly castles, with fire. And they took all the spoil, and all the prey, both of men and of beasts. And they brought the captives, and the prey, and the spoil, unto Moses, and Eleazar the priest, and unto the congregation of the children of Israel, unto the camp at the plains of Moab, which are by Jordan near Jericho. And Moses, and Eleazar the priest, and all the princes of the congregation, went forth to meet them without the camp. And Moses was wroth with the officers of the host, with the captains over thousands, and captains over hundreds, which came from the battle. And Moses said unto them, 'Have ye saved all the women alive? Behold, these caused the children of Israel, through the counsel of Balaam, to commit trespass against the Lord in the matter of Peor, and there was a plague among the congregation of the Lord. Now therefore kill every male among the little ones, and kill every woman that hath known man by lying with him. But all the women children, that have not known a man by lying with him, keep alive for yourselves.'"

JONATHAN

Numbers 31:1-18.

LUMA

The Bible impels much ... ambivalence.

JONATHAN

It does at that.

LUMA

You are a votary of the Hebrew god?

JONATHAN

I don't put too much stake in being a churchgoing sort, but I believe in Jesus.

LUMA

How do you harmonize the charity of Christ Jesus with the vehemence of his deity?

JONATHAN

When the Lord commands Israel to do the Midianites wrong, that's the Devil in disguise. When Jesus commands his disciples to turn the other cheek, that's the true God breaking through the Devil's lies. But I'm sure Pastor Nilquist would say different. (beat) How about you give it a try?

Setting down the axe, Jonathan switches places with Luma. Retrieving a round of wood, he places it on the chopping block.

JONATHAN

You don't need the axe. (nods) Go ahead.

Clenching her fist, she brings it down on the round. Instead of splitting in two neat halves, it bursts into kindling.

JONATHAN

(smirks) Splendiferous.

INT. KENT HOME/KITCHEN — DAY

Luma sits in a chair, a towel draped around her shoulders and over her chest, looking through the same fashion magazine from before. Martha stands behind her, scissors in hand.

MARTHA

Ready?

LUMA

I am.

Taking a lock of Luma's blond hair in hand, she takes her scissors to it. The blades snap clean off.

MARTHA

Heavens!

LUMA

(frowns) Something the matter?

MARTHA

(irate) I asked if you were ready.

LUMA

(frowns) I am.

MARTHA

(holds out broken scissors) These speak otherwise.

LUMA

(confused) I do not apprehend.

MARTHA

You don't know how to dial back your invulnerability?

LUMA

Dial back my invulnerability?

MARTHA

Clark can make it so scissors won't break against his hair.

LUMA

Has Clark delineated the process?

MARTHA

"Pulling it into himself".

LUMA

I will try….

Closing her eyes, Luma concentrates.

LUMA

Attempt again.

Retrieving a new pair of scissors, Martha takes a lock of Luma's blond hair in hand and cautiously takes her scissors to it. The blades shear through the strands effortlessly.

EXT. SMALLVILLE — GAS STATION — DAY

Kenny is seated on a bench out front, reading a paperback, when a car pulls up to the pumps. Setting down his book, Kenny rises and goes to his customer.

DRIVER

16¢ of gas. And give my windshield a cleaning, if you please.

KENNY

Not a problem, sir.

Cleaning the man's windshield, Kenny then fills the tank. Once that's done, the driver pays Kenny.

KENNY

Have yourself a fine day, sir.

Replying with a nod, the man pulls out and away.

Lana, on her bicycle, is riding along the side of the road. Nearing the gas station, she gives Kenny a wave. Taking off his cap, he waves back, smiling.

EXT. HELEN'S HOME/FRONT YARD — DAY

Lana parks her bicycle at the front step. Taking a leather portfolio up from the bike basket, she goes to the door and knocks.

INT. HELEN'S HOME/BEDROOM — DAY

Clark and Helen are together under the sheets. Lying flat on her back, Helen stares deep into Clark's eyes. He freezes in mid-thrust.

HELEN

Why'd you stop?

CLARK

There's someone at the door.

HELEN

(laughs) You can't hear the door from here.

CLARK

I heard it.

HELEN

(sighs) They'll go away.

Conceding her argument, Clark resumes his stride.

EXT. HELEN'S HOME/FRONT YARD

Lana knocks again. When Helen fails to answer the door a second time, Lana tries the knob. Finding the door unlocked, she slips inside.

INT. HELEN'S HOME/ENTRANCE HALL — DAY

LANA

Aunt Helen? Lana. (beat) I have those papers for you….

Lana creeps deeper into the house.

INT. HELEN'S HOME/BEDROOM — DAY

The lovers moan.

INT. HELEN'S HOME/HALLWAY OUTSIDE BEDROOM — DAY

From here, Lana can hear the lovemaking occurring in the bedroom. Curious, aroused, she silently creeps down the hall to the bedroom door, which is a crack open.

INT. HELEN'S HOME/BEDROOM — DAY

Deep in the throes of passion, neither Helen nor Clark notice the crack in the door widen.

INT. HELEN'S HOME/HALLWAY OUTSIDE BEDROOM — DAY

Discretely peering through the gap, the wry smile on Lana's lips dies as she spies who is with her aunt.

INT. HELEN'S HOME/BEDROOM — DAY

Arms and legs wrapped around Clark, Helen climaxes.

INT. HELEN'S HOME/HALLWAY OUTSIDE BEDROOM — DAY

Lana steps back, dropping the portfolio to the floor. The door then swings open of its own accord, leaving the two parties in full view of each other.

CLARK

(surprised) Lana!

Shocked, embarrassed, Lana dashes off.

CLARK

Wait! Lana!

Pulling away from Helen, Clark retrieves his pants and struggles into them.

EXT. HELEN'S HOME/FRONT YARD — DAY

Hopping on her bicycle, Lana kicks off, pedalling furiously to put distance between her and the cottage. Clark bursts through the front door.

CLARK

Lana!

Not stopping, not circling back, Lana angrily wipes unbidden tears from her eyes.

EXT. KENT FARM — CORN FIELD — DAY

To the back of the tractor has been hitched a reaper-binder. As Martha guides the tractor through the rows, the corn stalks are collected into the binder, automatically tied into bundles, then deposited out the back on the grass.

Some hours later.

Clad in purple flannel shirt and blue overalls, Luma goes about collecting the corn bundles from the ground, using her super strength to handle multiple bundles in both arms at once, using her super speed to stack them into shooks in a fraction of the time it would take a team of humans to complete the task.

As Luma finishes arranging the last shook, she hears a plaintive cry. Following the sound, she looks up to find a red-tailed hawk gliding through the sky, its wings spread wide. She scrutinizes the raptor. A sense of familiarity falls over her.

INT. BARN/LOFT — DAY

Clark stands by the open loft door, looking out across the property, pensive. Hearing the creak of wood behind him, he looks over his shoulder to find Lana climbing the ladder. Reaching the top, she rises, facing Clark, face dark.

CLARK

(uncomfortable) Hi.

Lana approaches him.

LANA

How long?

CLARK

Lana —

LANA

I know what I saw, Clark. Just tell me ... how long?

CLARK

Coming up on a month now.

LANA

(nods) She is a handsome woman.

Something catching her attention, Lana glances over Clark's shoulder. Outside, Luma stands facing the barn. The bob-wearing Kryptonian looks up at them, studying them.

LANA

(frowns) Who's that?

Clark looks outside.

CLARK

(thinking) My cousin.

LANA

You've never mentioned her before. (beat) Where's she from?

CLARK

Far away. Quebec.

At Clark's touch, they leave the open door. Deeper into the loft's shadows, Clark gently takes Lana by the shoulders, gazing into her eyes imploringly.

CLARK

Don't tell anyone.

Lana studies Clark's eyes. Closing her own, she leans forward and plants a tender kiss on his cheek. Stepping away without a word, she returns to the ladder.

Clark touches his cheek, feeling the lingering warmth of her kiss.

INT. HELEN'S HOME/BEDROOM — DAY

Another bout of lovemaking between Clark and Helen comes to a close.

A minute later.

Helen and Clark lay together, sheets bunched up between them. Instead of cuddling, making pillow talk, they watch the ceiling — Helen with disinterest, Clark with dissatisfaction — a silent, palpable distance between them.

Sitting up, Helen reaches over Clark for the nightstand on his side of the bed, taking up a cigarette case and lighter resting atop a movie magazine. As she fishes a cigarette from the case, Clark picks up the magazine; an image of Greta Garbo emblazons the front cover.

CLARK

Greta Garbo. (flips through magazine) Is she a good actress?

Lighting up her cigarette, Helen shrugs.

CLARK

I don't know any of the actors. I've never been to the movies. I've never been out of Smallville to see one. (beat) My whole life.

HELEN

Poor dear. (solemn) I know that feeling well.

The two make eye contact, on the cusp of an emotional connection.

CLARK

Do you remember your first? Which was it?

Helen takes a moment to think it over.

HELEN

Frankenstein, in 1910. (takes drag) Yes, it was Frankenstein.

CLARK

What was it like?

HELEN

You've read the book.

CLARK

Certainly.

HELEN

There's your answer.

The distance returns.

Helen offers Clark her cigarette. Accepting it, Clark takes a dispassionate puff. Tobacco does nothing for him.

INT. HELEN'S HOME/ENTRANCE HALL — DAY

Helen opens the front door for Clark.

HELEN

You'll be in tomorrow, of course.

CLARK

It'll be a long day for me. I don't believe I'll make it in.

HELEN

Then the day after.

CLARK

The family's entertaining a guest — my cousin Luma, visiting down from Canada. I'm sorry.

Clark enters the threshold.

HELEN

(raises hand) Just a moment!

Stopping in the door, Clark waits for Helen as she leaves for another room. In a minute she returns, a fresh-baked pie in hand.

HELEN

(offers pie to Clark) Pecan.

CLARK

Thank you.

Helen starts to smile.

CLARK

(cont'd) Ma has allergies, but I appreciate the gesture.

The nascent smile dies.

CLARK

(forlorn) Take good care of yourself, Hel.

Clark steps through the door, closing it after him. Helen is left standing in the entrance hall, alone with her pie.

INT. LANG HOME/LANA'S BEDROOM — DAY

In her undergarments, singing softly to herself, Lana goes through her closet. She finds two items: a red blouse and a beige sweater. Looking them over, she chooses the sweater. Setting the sweater down beside a brown skirt atop her bed, she crosses over to her dresser. Gazing into the dresser mirror, she checks her hair. As she tucks an errant lock behind her ear, she sees in the reflection a face outside her bedroom window.

LANA

(gasps) Jumpin' Jesus!

Spinning 'round, she finds it is Clark gazing in on her. She strides to the window; flinging it open, she leans out; Clark clutches the window frame, feet braced tightly against the wall, suspended two storeys above the ground, nothing on or against the wall he could've used to scale it.

LANA

How'd you ever manage‽

Taking a step back, Lana allows Clark to climb inside. She places her fists on her hips, none too pleased with Clark.

LANA

You're a voyeur, too, now?

CLARK

Sorry. (averts gaze)

LANA

Suppose I can't fault you. Must be desensitized to the sight of bubs by now.

Moving to her bed, Lana takes up her sweater.

LANA

Let's not futz around. (slips sweater on) What's on your mind?

CLARK

It's over.

Lana takes up her skirt, eyes intent on Clark.

CLARK

(beat) Between your aunt and me.

LANA

(slips skirt on) Face stretcher wore thin?

CLARK

(turns to window) I should go.

LANA

(buttons skirt) Clark — no.

Taking him by the wrist, she sits him down beside her on the bed, ready to hear what he has to say.

CLARK

It was sex. Just sex. Nothing else. (beat) I tried to love her. I tried. But she wouldn't let me in. (beat) Lana, is it me? Is there something wrong with me?

LANA

Clark ... you're a sap. A real sap. But my God ... your heart is big. You, you shine — a sun on Earth. (beat) I pity Hel, if she can't see you ... (touches his lips) ... appreciate you….

There is a loud rap at the door, startling them both.

SARAH LANG

(O.S.) Lana, are you decent?

LANA

(faces door; irate) Mother!

SARAH LANG

(O.S.) Peter's just arrived.

LANA

(to herself) Oh, Pete! (to Mrs. Lang) I'll be right down!

Rising, Lana retrieves her shoes.

CLARK

Having a night on the town with Pete?

Slipping into her shoes, Lana nods.

CLARK

Since when have you and Pete ...?

LANA

Clark, we've been going steady two weeks. (beat) You didn't realize?

CLARK

No. (bewildered) I've missed out on a lot.

LANA

(sighs) That you have.

EXT. KENT FARM — KENT HOME/BACK PORCH — TWILIGHT

Luma sits in an easy chair. Shelby resting on the porch to her left, she stares into the twilight sky overhead, pensive.

Clark emerges onto the porch.

LUMA

I require more books.

CLARK

I'll pay the library a visit tomorrow. I'll check the Complete Works of Shakespeare out for you.

LUMA

Is Shakespeare weighty?

CLARK

I'll pick you up The Canterbury Tales, too.

Clark follows Luma's gaze into the sky. The stars are beginning to emerge, twinkling against the deepening darkness.

LUMA

Clark?

CLARK

Yes?

LUMA

Are you ... you are aroused by these Terran women?

CLARK

(taken aback) Yes.

LUMA

Jonathan is a handsome man, it is true. Yet his scent is ... alien. (morose) I will never take to its like.

CLARK

(frowns) Luma ... what's your earliest memory?

LUMA

Your mother stripping me nude.

CLARK

You have absolutely no memory of how you came here? Why you came? Where you came from?

Luma looks to Shelby. The dog is asleep, her head between her paws.

LUMA

My name is Luma-Lyn. That is all I remember….

INT. HELEN'S HOME/PARLOUR — NIGHT

Seated in a spacious armchair, Helen reaches for the candlestick telephone on the stand beside her. Lifting the receiver from the switch hook, she dials a number.

INT. KENT HOME/KITCHEN — NIGHT

After long seconds of ringing, Jonathan enters the kitchen and strides up to the wood-panelled wall telephone.

JONATHAN

(answers phone) Jonathan here.

INT. HELEN'S HOME/PARLOUR — NIGHT

HELEN

(smiles) Dearest Jonathan.

INT. KENT HOME/KITCHEN — NIGHT

JONATHAN

(frowns) Who's this?

INT. HELEN'S HOME/PARLOUR — NIGHT

HELEN

(wry) I'm surprised at you. Granted, it's been a spell. But so long as to forget the voice of your oldest, closest friend?

INT. KENT HOME/KITCHEN — NIGHT

JONATHAN

(stern) Helen.

INT. HELEN'S HOME/PARLOUR — NIGHT

HELEN

You remember!

INT. KENT HOME/KITCHEN — NIGHT

JONATHAN

If you're calling after Clark, he isn't available.

INT. HELEN'S HOME/PARLOUR — NIGHT

HELEN

Oh, you'll do. Quite nicely.

INT. KENT HOME/KITCHEN — NIGHT

JONATHAN

How may I help you today, Hel?

INT. HELEN'S HOME/PARLOUR — NIGHT

HELEN

Clark and I've spent quite the amount of time together. So much time, I wake some mornings thinking I'm Mrs. Helen Kent. (chuckles) Thanksgiving's fast approaching. I'll be hosting a dinner. I've invited my sister and her family. While I know Clark isn't family, it simply wouldn't do to exclude him and his from the festivities.

INT. KENT HOME/KITCHEN — NIGHT

JONATHAN

I don't think so, Helen.

INT. HELEN'S HOME/PARLOUR — NIGHT

HELEN

(sighs) I suppose I can call back later; perhaps Martha'll be available to pick up the line. Or perhaps I'll drive out to your quaint, picturesque property and pay your wife a personal visit. (beat) We have much to discuss, she and I, and I can be quite the chatterbox. (malicious) Quite the chatterbox.

INT. KENT HOME/KITCHEN — NIGHT

Jonathan doesn't speak a word.

INT. HELEN'S HOME/PARLOUR — NIGHT

HELEN

And don't forget to include your niece. Clark has told me all about her; I'm simply perishing to meet the perfect dear.

INT. KENT HOME/KITCHEN — NIGHT

The line goes dead.

FADE OUT

END CREDITS


End file.
